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The finishing touch to Kristofferson's sudden renown was Janis Joplin's cover of the classic on-the-road song "Me and Bobby McGee," released shortly after her death, which topped the pop charts. Then Johnny Cash covered the first-person hangover narrative "Sunday Mornin' Comin' Down" for a number one country hit, and Sammi Smith gave a twist to "Help Me Make It Through the Night" by recording it as a woman's song for yet another country number one. Nashville, as it turned out, didn't have much use for his countercultural songs, but the country music community could recognize a good love song, and Ray Price quickly cut "For the Good Times," which topped the country charts.
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The songs were so personal that they seemed to demand a personal interpretation, and established the persona of a poor songwriter struggling against despair. A sleeve note suggested that Kristofferson had been reluctant to record, but while he didn't have much range as a singer, he brought a conviction to his vocals and a complete understanding of the nuances of the lyrics.
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On the evidence of his first collection of songs, Kristofferson was ahead of his country music peers in realizing that, despite Nashville's conservative political tilt, there was a natural affinity between the country archetype of a hard-drinking, romantically independent loner and the rock & roll archetype of a drug-taking, romantically free hippie.