In this interview, we delve into the remarkable career of the legendary Kris Kristofferson, exploring highlights from his extensive discography, from his iconic hits to those pivotal moments that allowed him to pursue music full-time.

**”Me and Bobby McGee” (1970)**
Kris, your song “Me and Bobby McGee” is often regarded as one of the great American songs. What’s it like to have so many prominent artists, like Janis Joplin and Johnny Cash, cover it? The song has such a haunting narrative. Could you share how it came to be, particularly the influence from Fellini’s “La Strada”? The opening line, “Busted flat in Baton Rouge … feelin’ near as faded as my jeans,” is so evocative. What does that line represent to you?

**”Sunday Mornin’ Comin’ Down” (1970)**
You mentioned that “Sunday Mornin’ Comin’ Down” enabled you to leave your day job. Why do you think it resonated so much with listeners and even your musical heroes? The song paints such a vivid picture of a man grappling with loneliness beyond the hangover. Is this reflective of a personal experience for you?

**”To Beat the Devil” (1970)**
In “To Beat the Devil,” your spoken dedication to Johnny Cash hints at a deeper connection between your work and the counterculture movement. Could you elaborate on how the “devil” symbolizes both the music industry and your personal struggles? The line, “I drank his beer for nothin’ / Then I stole his song,” is especially striking. What led to that imagery?

**”Help Me Make It Through the Night” (1970)**
This song has such a unique take on love and dependency. What inspired you to express a desire to take rather than give with lines like, “All I’m taking is your time”? It seems to blur the lines between need and commitment.

**”The Pilgrim, Chapter 33″ (1971)**
In “The Pilgrim, Chapter 33,” you pay tribute to musicians like Johnny Cash. What does the life of a traveling musician mean to you, especially when you say, “Never knowin’ if believin’ is a blessin’ or a curse”? How do you view the ups and downs of this lifestyle?

**”Jesus Was a Capricorn (Owed to John Prine)” (1972)**
This track showcases a more complex sound compared to your earlier works. How do you think your evolving vocal style influenced the message behind “Jesus Was a Capricorn”? The cynical take on society is quite thought-provoking; what led you to that perspective?

**”Nobody Wins” (1972)**
Your ballad “Nobody Wins” carries monumental emotional weight. What does the line “The loving was easy / It’s the living that’s hard” mean to you, especially when Frank Sinatra later decided to cover it? How do you think it resonates with listeners?

**”From the Bottle to the Bottom” (with Rita Coolidge) (1973)**
This song, made shortly after your marriage to Rita Coolidge, tells a classic story of loss and drinking with a lively twist. How do you ensure that your lyrics transcend cliché, like with the poignant line about a “down-and-outer waking up alone”? Is storytelling a priority for you in your music?

**”Here Comes That Rainbow Again” (1982)**
Inspired by “The Grapes of Wrath,” “Here Comes That Rainbow Again” has a unique blend of melody and theme. What inspired you to juxtapose the story of a truck stop waitress with a sense of underlying skepticism?

**”Closer to the Bone” (2009)**
Reflecting on your more recent work, “Closer to the Bone” shows a mature perspective. The line “Everything is sweeter, closer to the bone” resonates deeply. How has your life journey influenced your songwriting in these later years? Does the raw instrumentation represent a deliberate choice to showcase a more stripped-down version of yourself?