This Complete List Of Kendrick Lamar Albums And Songs presents the entire discography of Kendrick Lamar’s studio albums. Kendrick Lamar stands as one of the most popular hip-hop rap artists of the past decade. He is regarded as one of the most influential, as his music, lyrics, and grooves are cited by many young artists as a major influence on their work. Raised in Compton, California, Kendrick Lamar began his career releasing mixtapes. He was eventually signed to a major record label and became a household name in 2012 with the release of his major-label debut, Good Kid, M.A.A.D City.
In October 2025, the music world lost one of its most beloved rock’n’roll guitarists, the one and only Ace Frehley of KISS. The ‘Spaceman’ influenced generations of guitar players, including the likes of Dimebag Darrell (Pantera), John 5 (Marilyn Manson/Motley Crue), Slash (Guns N’ Roses), Mike McCready (Pearl Jam) and Rage Against The Machine’s Tom Morello.
In fitting tribute to the memory and music of Ace, WA rockers Triple Engine and Perth’s newest KISS tribute, Strutt’R are teaming up for the Rock Soldiers: Ace Frehley Memorial Show at The Carine on Friday, April 10.
Strutt’r
This FREE ENTRY show will feature Triple Engine playing a full set of Ace Frehley songs (both KISS and solo eras), with special guest guitarist Will Gibbs (Interscope) coming on board for the night. Chris Gibbs and bassist Craig Skelton were in former Perth tribute, KISStake, and the band will be releasing a version of Ace’s classic, Rocket Ride, as a digital single on April 24.
In full makeup and costume Strutt’R will then take the stage to rock out a set of KISS classics. They’ve been treading the boards in their big KISS boots for just over a year.
Triple Engine
Guitarist Chris Gibbs will be pulling double-duty on the night, playing with Triple Engine then heading straight into makeup to perform with Strutt’R in the role of the Space Ace, reprising the many years he played lead guitar in KISStake.
“Ace’s passing affected me more than I would have thought it would,” Chris says. “I’d been inhabiting the ‘character’ as it were via KISStake for close to 20 years, so it genuinely felt like a part of me had gone. So it’s fitting to re-visit his legacy now that some time has passed and say goodbye in true rock’n’roll fashion.”
“For Strutt’R, this evening is a tribute to celebrate Ace’s legacy in the music industry,” says the band’s drummer/Catwoman, Rhona Yaka. “His passing was felt around the world, and he influenced many a budding guitarist growing up in the height of KISS’s fame. I hope the takeaway is just how respected Ace was, not just for his contribution to the success that KISS enjoyed but as a guitarist that inspired and continues to inspire others to play guitar.”
Rock Soldiers: Ace Frehley Memorial Show The Carine, Friday, April 10 Featuring Strutt’R and Triple Engine Free entry Prizes for best dressed Check the Facebook event page here
The Lonely God Tour may have been leaving the UK, but it had to stop in London first. At the Electric Ballroom in Camden Town, the excitement was electric. Everyone was buzzing to finally hear live the Fit For A King songs that had literally destroyed us through headphones at home.
Fit For A King – Memphis May Fire – Acres – 156/Silence
If you want to start the night the right way, then 156/Silence is exactly what you need. No breaks, just nonstop two-step and pure chaos right from the start.
156/Silence – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Target Acquired kicked things off, and from there, it was a short set that honestly felt way too short because it was that good. 156/Silence did not feel like just an opening act as they owned the stage.
No messing around, just raw energy, sharp screams and pounding drums that hit hard the whole time. Tracks like Product Placement and High Dive In A Low Well sent the crowd wild, and the vocalist completely took over with a strong stage presence.
156/Silence – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
And that was only a taste of what the night had in store at the Electric Ballroom in Camden Town. Closing with Better Written Villain and Character Development (Cold Start), they left everyone wanting more. The pit was just getting started when it all ended.
Acres
No time to slow down, because Acres were up next. They played the same stage as a few years ago as an opening band for The Plot In You, but this time, they came in stronger.
Acres – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Not So Different kicked off another intense set. Acres kept things dynamic the whole time, switching between emotional, softer moments and heavier hits that really landed. The energy never dropped, and they had a solid stage presence throughout.
Acres – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Take My Breath sent the pit into chaos with nonstop moshing and crowd surfing, and Bloodlust hit just as hard. Acres are a tight, intense band that knows how to mix clean vocals with sharp screams, and it works every time.
Acres – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
They closed with Lost, leaving the stage after fully owning it with a performance that just stuck with you.
Memphis May Fire
Memphis May Fire is the band I had been waiting forever to see live, and finally, as the last opener before the headliner, I can safely say they need to be experienced the right way.
Memphis May Fire – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
From the moment they hit the stage, their energy was pure chaos. The pit went completely wild when songs like The Sinner and Paralyzed kicked in, instantly taking the Electric Ballroom to a whole new level.
What’s great about Memphis May Fire is that they do not waste time with pointless chatter. They just deliver song after song full of lyrics that make you move until you are soaked in sweat.
Memphis May Fire – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Shapeshifter, one of my personal favourites, sounded completely different live. It hit harder, and the chorus blasted through the walls, giving everyone goosebumps. The band owned the stage, commanding attention without even trying.
Their set did not stop there. Tracks like Overdose and Chaotic kept the intensity high, and Blood Water closed out the set in the most epic way possible.
Memphis May Fire – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Every song hit with full force, leaving the crowd exhausted but completely hyped.
By the time they finished, the adrenaline was off the charts, and everyone was ready for the headliner, the reason we were all there in the first place.
Memphis May Fire did not just perform. They made the night unforgettable.
Memphis May Fire – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Fit For A King
You could feel the anticipation in the air, and as soon as Fit For A King hit the stage, it was clear this was going to be a night to remember.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
They kicked things off with Begin The Sacrifice, and the crowd exploded. Everyone knew every word, screaming along with a mix of energy and pure devotion.
From the very first second, it was obvious that Fit For A King were not just performing, they were commanding the stage, feeding off the energy of their fans and giving everything they had. The participation from the audience was almost sacred, more intense than for any of the bands before them.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
The set was a perfect mix of brutality and emotion. On one side, you had the raw power of songs like Backbreaker, which features a jaw-dropping 24 second scream and Keeping Secrets, with its relentless aggression.
On the other hand, there were those moments that hit you right in the chest, like the quieter, more emotional parts that showed the band’s versatility. Fit For A King have learned the ability to move between heavy chaos and heartfelt intensity, and it was on full display this night.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
This was actually my second time seeing them live. The first was at O2 Academy Brixton when they opened for Motionless In White, and even after a few years, their passion and energy had not faded a bit. Every movement, scream and riff made the crowd move without pause.
Circle pits, moshing and crowd surfing turned the entire floor into controlled chaos, and yet it somehow felt perfectly organised by the energy of the band and the fans together.
Even on a Tuesday night, the room was alive in a way that only Fit For A King can create.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
The new songs from their latest album added another layer to the night. Tracks like Monolith and Technium brought pure aggression, while Extinction became a defining moment of the set.
The guitars were razor-sharp, the drums struck incessantly, and the vocals cut through it all with raw intensity. These new songs were not just additions. They were a statement that the band continues to evolve while staying true to their sound.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
One of the most memorable moments of the night came when bassist Ryan O’Leary, already a force of nature on stage with flips, jumps and spinning his bass multiple times around his body, picked up the mic to sing Between Us.
His voice filled the entire venue, and in that instant, the song’s emotional weight hit everyone in the room. Then, Ryan Kirby returned to the stage to join him and together with the fans singing every word, the performance became something almost mystical. It was chaotic, yet intimate, aggressive, yet emotional and a perfect representation of everything Fit For A King stand for.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Of course, no set would be complete without Lonely God.
And then came When Everything Means Nothing, which transported us all back to 2018. Everyone in the room sang along in perfect unison, reminding us why Fit For A King have built such a passionate, loyal fanbase over the years.
Sadly, all good things must come to an end. After an unforgettable performance, the band closed with Witness The End, leaving the crowd buzzing with adrenaline, sweat and pure joy.
Fit For A King – Electric Ballroom – 24 March 2026. Photo: Carol Giannattasio/MetalTalk
Seeing Fit For A King live again, especially with their new material, was an incredible experience. Their music does not just make you headbang, it pulls you into another world.
Between the crushing riffs, powerful screams, emotional moments and nonstop energy, they proved once again why they are one of the most exciting bands in modern Metalcore.
Weezer have been teasing a new album. The band recently announced a North American arena tour called Weezer: The Gathering with the Shins and Silversun Pickups as support, and today they’re sharing the lead single called “Shine Again.” “Shine Again” was first distributed to fans via USB drives at an intimate performance last week. We…
Story time. One night in probably 2002, I go see the Minneapolis punk band Dillinger Four at the Ottobar in Baltimore. This is a total whim. I go by myself. I don’t have anything else going on that night — I think it’s a Monday or a Tuesday — and I live a few blocks…
Blues rock combines raw emotion with stinging guitar work, passionate vocals, and grooves that dig deep into the soul. Some tracks become classics, but many more remain hidden gems that are often overlooked. The following 10 tracks never became radio hits and range from gritty soul shakers to swampy, atmospheric pieces and acid rock blues featuring pioneering, explosive guitar shredding. Underappreciated treasures like “Empty Promises” by the soulful Michael Burks and Lonnie Mack’s high-energy performance on “The Move” remind us that the heart of blues rock isn’t always in the spotlight but sometimes lurks in the shadows.
Michael Burks – “Empty Promises”
Michael Burks’ nickname was “Iron Man” as a result of the powerful and enduring style he displayed at the peak of his soulful, emotionally charged career. “Empty Promises” appeared on his 2008 Alligator Records album Iron Man, which showcased the late blues guitarist and singer’s searing guitar playing and passionate vocals. “Empty Promises” is a classic blues rock track about betrayal and disappointment in love, delivered through lyrics that vividly paint a picture of heartbreak.
“You said you’d be there every step of the way
But all I ever get, all I ever get is empty promises baby.”
Bruce Cockburn– “Mama Just Wants to Barrelhouse All Night Long”
Bruce Cockburn originally wrote and recorded “Moma Just Wants to Barrelhouse All Night Long” for his fourth studio album Night Vision, released in 1973. It features a playful, rocking, and rollicking rhythm with evocative lyrics about escaping social constraints and dancing like nobody is looking. It is one of his rootsier, gritty, lighthearted songs from his early days before his releases took on a more political tone. The track is a soulful, stripped-back acoustic performance with an upbeat blues rock swing that is infectious.
Ty Curtis – “Big Deal”
“Big Deal” appeared on Ty Curtis’s 2023 album release Ascendant Blues. Curtis is a standout triple-threat blues rocker, known as a passionate vocalist, stratospheric guitarist, and phenomenal songwriter. He released his first album in 2006 after graduating from high school and has released eight studio albums since then. “Big Deal” features his passionate vocals and driving guitar, delivering a punchy, groove-driven contemporary blues rock gem.
Bob Dylan – “Dirt Road Blues”
“Dirt Road Blues” appears on Bob Dylan’s 1997 album release Time Out of Mind. It is a gritty, up-tempo country blues rocker driven by a hauntingly repetitive, simple guitar twang. Daniel Lanois produced the album, channeling Delta blues with a swampy mix distilled into “Dirt Road Blues,” with its brooding atmosphere and raw, improvised energy. Dylan’s deep, raspy vocals echo through the atmospheric haze created by the shuffling rhythms.
“Gonna walk down that dirt road, until my eyes begin to bleed
’Til there’s nothing left to see”
The Flamin Groovies – “High Flyin’ Baby”
“High Flyin’ Baby” is the opening cut from Flamin’ Groovies’ third studio album Teenage Head, released in 1971. The song is a greasy, high-octane blues rock gem that combines Cyril Jordan’s stinging slide guitar and Roy Loney’s gritty, leering vocals. The San Francisco band was inspired by The Rolling Stones, and the track is pure, sweat-soaked, carnal energy. It bridges the gap between classic Chicago blues and garage rock, which is why it still sounds dangerously alive more than fifty years later.
Free – “Goin’ Down Slow”
“Goin’ Down Slow” appeared on Tons of Sobs, Free’s 1969 debut release. It was originally written and recorded by St. Louis Jimmy Oden in 1942, but Free electrified it and extended its length, transforming it into something so alive that it still holds up more than five decades later. Paul Kossoff’s searing, emotionally charged guitar playing explodes with stratospheric peals, while Paul Rodgers’ gritty, weathered vocals passionately transform what is a traditional lament into a heavy, sweat-soaked blues rock classic.
Guitar Shorty – “Let My Guitar Do the Talking”
“Let My Guitar Do the Talking” first appeared on Guitar Shorty’s 2004 Alligator Records album Watch Your Back. David William Kearney was Shorty’s birth name, and his intense, high-octane blues guitar playing influenced other guitarists like Buddy Guy and Jimi Hendrix. “Let My Guitar Do the Talking” is a high-energy blues rock barnburner built on a riff-driven groove with a tight rhythm section. Shorty’s blistering, string-bending, wah-wah-drenched guitar solos capture the essence of modern electric blues.
Jimi Hendrix – “Catfish Blues”
While Jimi Hendrix never made a studio recording of “Catfish Blues,” he performed it extensively in his early days in the UK in 1967. This version is a live performance from one of those shows. The song was originally written and recorded by Robert Petway in 1941, and since then it has been recorded by Lightnin’ Hopkins and Muddy Waters. Hendrix’s version blasts all the previous versions out of the water with nuclear, detonating precision. Jimi stretches the traditional structure into a hypnotic, slow-burning jam that leans heavily into expressive phrasing while weaving in familiar blues lyrics about loss, longing, and desire.
Lonnie Mack – “The Move”
Lonnie Mack’s song “The Move” was recorded live in 1989 and appears on his 1990 album Lonnie Mack Live: Attack of the Killer V. It captures Lonnie at his performing peak, delivering raw, unfiltered, high-energy electric blues. It is an unfettered performance in which he turns a simple riff into a high-energy showcase of sharp, stinging guitar peals. The track pulses with a relentless groove, blending rapid-fire runs with rhythmic chord punches.
The Rolling Stones – “Parachute Woman”
“Parachute Woman” appears on The Rolling Stones’ seventh studio album, Beggars Banquet, released in 1968. “Parachute Woman” was also performed during the taping of the 1968 TV special The Rolling Stones Rock and Roll Circus. It became one of rock’s legendary “lost” projects and was not broadcast until 1996, twenty-eight years later. The song follows the theme of the album and is a stripped-down, gritty blues rocker featuring Mick Jagger’s wailing harmonica and mumbled, innuendo-laden vocals.
Oakland death metal trio, Necrot, is pleased to announce that they have officially joined the Metal Blade Records roster. The band is currently working on new material. More info in due time. Read more…
Extreme music legends Converge have quickly returned with new full-length LP Hum of Hurt, and Decibel is honored to offer our own exclusive Blood Rose Red vinyl variant, strictly limited to 200 copies! Not only do we have our own exclusive vinyl color, each copy will include a folded 3-color silkscreen cover designed by vocalist Jacob Bannon, printed on mirror gold stock!
Hum of Hurt follows Love Is Not Enough as Converge’s second full-length release of 2026. Like its predecessor, the album offers a bleak yet empathetic assessment of the human condition and its ongoing deterioration. “When we came together to write, we ended up with a wealth of material,” says Converge vocalist Jacob Bannon. “As work progressed, we realized we had created two separate albums, and treated them as such.”
On May 8th 2026, Nordvis Produktion will put a new Panopticon record titled Det Hjemsøkte Hjertet. Spenser Morris took care of the mix and mastering of this music effort. For a preview, give a listen of the first streaming single “The White Cedars”. Read more…
