For Unlawful Carnal Knowledge (often abbreviated as F.U.C.K.) is the ninth studio album by American rock band Van Halen. It was released on June 17, 1991, on Warner Bros. Records and is the third to feature vocalist Sammy Hagar. It debuted at number 1 on the Billboard 200 album chart and maintained the position for three weeks. The album marked a record in the band's history, seeing seven of its eleven tracks released as singles. The album marked the first time the band had Ted Templeman working in a producer capacity since 1984, when David Lee Roth was still lead singer. He had, however, assisted in determining the track sequencing for the 1986 effort 5150. Title The album's title came from lead singer Sammy Hagar, who wanted to push the issue of censorship by naming Van Halen's album with a vulgarity, stating, "That's when censorship was a big issue. I wanted to name the album just Fuck." Hagar eventually backed away from the outright vulgarity after he was told by his friend, former world lightweight boxing champion Ray "Boom Boom" Mancini, that the word "fuck" was an acronym for the phrase "for unlawful carnal knowledge" (though this is a false etymology). Their tour promoting the album was unofficially named F.U.C.K. 'n' Live. Prior to recording, the term "for unlawful carnal knowledge" was used by the band Coven as a track on their album Witchcraft Destroys Minds & Reaps Souls in 1969. Recording Van Halen started work on the album in March 1990 and finished in April 1991, two months before its release. The album itself was marketed as the "return" to Van Halen's hard rock roots, with most songs being guitar driven, and the synth sounds being replaced by pianos. The band also reconciled with producer Ted Templeman, who produced earlier Van Halen albums to return to work on the album. According to Eddie Van Halen, this happened because singer Sammy Hagar did not want to work with Andy Johns and Templeman let him "get away with everything." The year-long production led to the 'labored' sound. This was the first album that Eddie recorded without his trademark Marshall Super Lead serving as the primary amplifier. The Marshall was fading, so he went with his 1989 Soldano SLO-100 to record the album primarily, though the Marshall was used sparingly. A prototype for what would become the Peavey 5150 series of custom