"In Rock We Trust"Album Description:
"In Rock We Trust" is a classic album by the American rock band Y&T, released on 31 July 1984. The album marked a significant chapter in the band's career and showcased their musical prowess.
History of the Album:
Y&T, originally formed as Yesterday & Today, had already gained a solid reputation in the hard rock scene with albums like "Earthshaker" and "Black Tiger." However, it was "In Rock We Trust" that further solidified their standing. The album was produced by Chris Tsangarides, known for his work with Judas Priest, and recorded at Ridge Farm Studios in Surrey, England.
The creation of the album wasn't without challenges. The band faced pressure to deliver a follow-up to their successful "Mean Streak" album. Nevertheless, they rose to the occasion and crafted a record that seamlessly blended melodic elements with hard-hitting rock. The album's title itself reflects the band's unwavering belief in the power of rock music.
Musical Highlights:
"In Rock We Trust" is a sonic journey featuring memorable tracks like "Don't Stop Runnin'," a powerful anthem that captures the essence of Y&T's energetic sound. The guitar work of Dave Meniketti shines throughout the album, and the rhythm section, comprised of bassist Phil Kennemore and drummer Leonard Haze, provides a solid foundation.
Legacy and Impact:
"In Rock We Trust" received positive reviews upon its release, with critics praising its songwriting and production. The album's commercial success helped Y&T reach a broader audience, and tracks from the record became staples in their live performances.
Decades later, "In Rock We Trust" remains a cherished piece of Y&T's discography, representing a pivotal moment in their musical journey.
Production and Recording Information
The album: "Y&T - In Rock We Trust" was produced by:
Tom Allom
Tom Allom – Producer, Sound EngineerHe made amps behave and drums punch without turning the mix into oatmeal. Read more...
Tom Allom, the kind of producer-engineer who could make a Marshall stack behave, is one of those names you only notice after the speakers stop smoking. I clock him first as a toningenieur on Black Sabbath's early run (1970-1973), then as a producer for Strawbs (1973-1975) before he helped shape the NWOBHM steelwork with Judas Priest (1979-1988: "British Steel", "Screaming for Vengeance", "Defenders of the Faith" through "Ram It Down"). He also put his stamp on Def Leppard's "On Through the Night" (1980) and Krokus' "Headhunter" (1983), and he even returned to Priest later (2009, 2018). When he nails it, the kick drum punches, guitars slice, and the chorus arrives like a door being kicked in.
Sound/Recording Engineer(s):
Andy DeGanhl, Buddy Thornton, David Luke
This album was recorded at:
Fantasy Studios, Berkeley
Mastered at Sterling Sound
Art Direction: Chuck Beeson
Illustration: John Taylor Dismukes
Album photography:
Dave Lepori, Randy Bachman , Robert Ellis
Robert Ellis – Photographer
The guy with the press pass (and the nerve) who lived on rock tours from 1971 to 1993, catching the moments bands never planned to share.
Read more...
Robert Ellis is the kind of rock photographer I trust because the shots don’t pose, they confess. Seeing his work, the noise comes back in full color: sweat in the stage lights, backstage grins that last ten seconds, and that split-second where a band looks immortal before the van ride ruins everyone’s posture. Credits tell the timeline clean: he starts out in 1968, then lands at New Musical Express (1971–1975), moves through Melody Maker (1975–1976), and keeps rolling as a freelance gun-for-hire for titles like Sounds and Kerrang! (plus the occasional mainstream giant like Time). The real “band periods” here aren’t membership cards, they’re tour years: Ellis is on the road photographing bands across the rock and metal circuit from 1971–1993, then turns the archive into a home base by founding Repfoto in 1982 and later pushing his own book imprint, The Rock Library, in the 2010s. That’s the job done right: stay invisible, keep the shutter honest, and let the music leave fingerprints on the film.
