Albert King
Albert King (1923–1992) was a foundational figure of modern electric blues and one of the "Three Kings of the Blues Guitar," alongside B.B. King and Freddie King. Known as the "Velvet Bulldozer" for his smooth singing and imposing physical stature, he stood roughly 6'4" and weighed 250 pounds.
Born Albert Nelson on April 25, 1923, in Indianola, Mississippi. He adopted the surname "King" in 1953 to associate himself with the then-rising star B.B. King. He grew up in Arkansas, performing in family gospel groups before shifting to blues. He taught himself to play on a homemade cigar-box guitar before purchasing his first real instrument for $1.25.
Before his musical breakthrough, he worked manual labor jobs, including picking cotton and operating a bulldozer—the latter of which contributed to his famous nickname. A left-handed player, King played right-handed Gibson Flying V guitars flipped upside down without restringing them. This meant he pulled strings down to bend them, creating a massive, "squeezing" tone that became his hallmark.
King signed with Stax Records in 1966, where he recorded his definitive work, including the 1967 album Born Under a Bad Sign. Backed by Booker T. & the M.G.'s, these sessions successfully fused rural blues with urban soul.
His innovative string-bending technique and minimalist phrasing deeply influenced rock legends like Eric Clapton, Jimi Hendrix, and most notably Stevie Ray Vaughan, with whom he recorded a famous 1983 televised special.
King died of a heart attack on December 21, 1992, in Memphis. He was posthumously inducted into the Rock and Roll Hall of Fame in 2013.
Truckload Of Lovin’
Written-By – Mack Rise 4:07
A2 Gonna Make It Somehow
Written-By – Carl Thomas 4:11
A3 Sensation, Communication Together
Written-By – Mack Rise, Mary Davis 7:24
A4 I'm Your Mate
Written-By – Eddie Floyd, Henry Hopkins 4:39
B1 Truckload Of Lovin'
Written-By – Jimmy Lewis 4:33
B2 Hold Hands With One Another
Backing Vocals – Jeanie Arnold
Written-By – Bobby Eli, Terry Collins 4:56
B3 Cadillac Assembly Line
Written-By – Mack Rise 4:52
B4 Nobody Wants A Loser
Written-By – Herman Kelly 5:00
Label: Tomato – TOM-6003
Format: Vinyl, LP, Album
Country: US
Released: 1978
Genre: R&B Soul, Blues
Style: Electric Blues, Rhythm & Blues
Albert King's Truckload of Lovin' (1976) is a divisive album, praised by some for its groovy 70s soul/funk production, horns, and backup singers that complement his stinging guitar, making it a fun, accessible blend of blues and pop, with standout tracks like the title track and "Cold Women With Warm Hearts". However, other critics find this commercial polish buries his raw power, drowning his signature licks in strings and making it a disappointing, overly smooth effort that failed to please both old fans and new.
The album, produced by R&B producers Tony Silvester and Bert DeCoteaux, is often criticized for a "sea of strings and backup vocals" that drown out King's distinctive guitar licks and powerful vocals. Reviewers from sources like AllMusic felt the production was too polished and a "failed attempt at commercialism".
Many blues purists and critics were disappointed with the album's pop and borderline disco aesthetic, feeling that King's formidable talents were rendered "impotent". Some critics noted that this represented a transitional period where King temporarily abandoned his more effective straight blues direction.
The album features prominent horns, strings, and backing vocals for a rich, mid-70s soul/pop sound. Features top-notch session players like Joe Sample and Wa Wa Watson provide a strong foundation. "Truckload of Lovin'" and "Cold Women With Warm Hearts" are often highlighted as album favorites.
The album's reception largely depends on the listener's preference. One reviewer noted that the mid-70s pop aesthetic will either "turn your stomach or turn you on," suggesting that those who appreciate soul-fusion music with that '70s vibe might enjoy the grooves. Truckload of Lovin' is best viewed as an interesting, if flawed, chapter in King's career, showcasing his versatility but sacrificing some of his raw blues grit for a slicker soul-funk sound that divides opinion.