King of Hearts (Lloyd album)

The album's lead single, "Lay It Down", was released on August 31, 2010.[6] It peaked at number 64 on the US Billboard Hot 100 and at number seven on the US Hot R&B/Hip-Hop Songs chart, becoming Lloyd's fourth top-ten hit on the chart.[7] The second single "Cupid" peaked at number 11 on the Hot R&B/Hip-Hop Songs.[1][8]

"Dedication To My Ex (Miss That)", which features Andre 3000 and Lil Wayne, was released as the third single on August 9.[9] "Be the One", which features Trey Songz and Young Jeezy, was originally planned to be the third single.[1][10] A music video for the song was still released on December 19.[11]

The album debuted at number 10 on the US Billboard 200 chart, with first-week sales of 26,000 copies in the United States.[12] It is Lloyd's third top-10 album in the US.[12] As of July 20, 2011, King of Hearts has sold 35,600 copies in the US, according to Nielsen SoundScan.[13]

Professional ratings

Review scores
Source	Rating
AllMusic	[3]
The A.V. Club	(B+)[14]
The Boston Globe	(mixed)[15]
Los Angeles Times	[16]
The New York Times	(favorable)[17]
Pitchfork	(7.9/10)[18]
Rolling Stone	[19]
Slant Magazine	[20]
USA Today	[21]
The Village Voice	(favorable)[22]

King of Hearts received positive reviews from most music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 77, based on 12 reviews, which indicates "generally favorable reviews".[23] AllMusic editor Andy Kellman called it "clearly the singer’s best album yet [...] his most unified set of songs", adding that "Lloyd has pretty much perfected the art of transcending the modern-R&B Lothario cliché".[3] Maura Johnston of The Village Voice described the album as "utterly replayable" and commented that it "veers back and forth between unabashed romanticism [...], club-borne lust [...], and the brooding, yet unleashed love songs that helped him initially break onto the scene".[22] The A.V. Club's Evan Rytlewski complimented Polow da Don's material for Lloyd and wrote that the album "doubles down on his amorous enthusiasm, pushing it to such delirious extremes that these songs feel risky and uncharted even as they play to his most obvious strengths".[14] Glenn Gamboa of Newsday called it "ambitious" and commended Lloyd as "a bold thinker and a skillful singer".[24] Pitchfork's David Drake praised "the chemistry of Lloyd with producer Polow da Don", writing that "his work is primarily devoted to underlining Lloyd's vocals for maximum impact."[18] Drake commented that the album "takes a major step toward streamlining his sound, pushing Lloyd's voice to the center and making a bid for a higher level of recognition in the R&B world," and elaborated on its musical significance, stating:

A distinctive talent, Lloyd often let his vocals dance around the periphery of a song, giving his best tracks a spacey, removed quality. [...] Lloyd's knack for endearing romanticism is a vehicle for great music, and when the record falters, it feels like a misunderstanding of how his talent operates. [...] The heart of the record, though, are tracks like the euphoric headrush 'Jigsaw', where Lloyd's sense of rhythm lets his vocals dance confidently in the subdivisions of the groove, balancing sugary enthusiasm with deft physicality. Many of the album's best songs seem to inspire comparisons with dancing: There is a connection to the idea of dance as liberation here, as Lloyd's blushing sincerity builds up potential energy, the nimble performance acts as a release valve.[18]

— David Drake

However, Ken Capobianco of The Boston Globe found its songwriting "weak" and stated, "Lloyd shows little nuance, and Polow Da Don doesn’t color in the tracks with enough interesting musical flourishes to mask some of the vocalist’s weaknesses".[15] Slant Magazine's Matthew Cole criticized its "trendy production choices" and found its songs ill-suited for Lloyd, writing that he "fares best when he stays on the sillier, sexier side of things".[20] Despite calling it a "strong-laced R&B vocal album", Mireya Fernandez of The Source perceived an "inability to definitively differentiate from the vast sea of other R&B singers".[25] The Washington Post's Allison Stewart complimented "Dedication to My Ex (Miss That)", but stated, "it’s the first and only track on 'King of Hearts' to inspire any kind of strong reaction at all".[26] Los Angeles Times writer Jeff Weiss commented that "Lloyd possesses a levitating croon and admirably fills out most of producer Polow Da Don’s synthetic boudoir songs", while noting "not a cliché left unemployed".[16] Jon Caramanica of The New York Times viewed a lack of "focus" with the songs, but commended Polow da Don for "feeling the full range of [Lloyd's] lushness" in his production.[17] Rolling Stone writer Jody Rosen commended its "salacious silliness" and compared Lloyd to recording artist R. Kelly.[19] Steve Jones of USA Today stated, "it's Lloyd's energetic but smooth deliveries that create a diverse set of keepers".[21]