Joanne Catherall nonetheless reflected that the group loved the album. The record was released in the United Kingdom by Virgin Records in July 1982, using the group name "The League Unlimited Orchestra" in tribute to Barry White's instrumental, disco-era backing band Love Unlimited Orchestra. The back cover of the album features individual photographs of the Human League, Rushent, his sound engineer Dave Allen, as well as sleeve designer Ken Ansell. Rushent recalled: "They had to have a picture of me. I did the whole thing on my own!" Rushent received no writing royalties on the album and in retrospect believed this to be unfair. The album title was the former name for the song "Do or Die". The appearance of the album in July 1982 was a month after the release of Soft Cell's similarly styled remix album Non Stop Ecstatic Dancing, and these releases, alongside The B-52's' Party Mix!, were later described by Easle and McIver as "the trilogy of early '80s pop-dance mix albums". By this point, Dare had created commercial momentum for Love and Dancing, which reached number three on the UK Albums Chart, and was certified Platinum by the British Phonographic Industry (BPI) on 1 November 1986 for sales of over 300,000 copies. The album was released in mid-price format by A&M Records in the United States several weeks later. Upon its American release, a couple of the tracks, including the "Don't You Want Me" remix, had already circulated on twelve-inch singles, whereas the other tracks were previously unreleased there and thus were embraced as "welcome bonuses", according to Brian Chin of Billboard. In a contemporary review, Paul Morley of the NME hailed Love and Dancing as an "exclamation mark" to the success of Dare, which he felt was "one of the great popular music LPs," and described its artful style as "the sound of 'love in fairyland' being launched into wonderland." Ian Birch in Smash Hits called the album an "odd item" and wrote: "Is it a stopgap measure or a fearlessly new way of presenting old tracks? It's neither really. Instead, the new window dressing produces some jaunty and occasionally jolting electronic effects. Ideal for watching Ceefax to." Among retrospective reviews, William Ruhlmann of AllMusic wrote that "if you always thought 'Don't You Want Me' was a great track with obnoxious vocals, this is the album for you." Ira Robbins of Trouser Press said