Kris Kristofferson – The Taker

“The Taker” is a song written by American singer-songwriter Kris Kristofferson in collaboration with Shel Silverstein. The song emerged during a formative period in Kristofferson’s career, when his reputation as a songwriter was growing rapidly in Nashville. Kristofferson’s own recording of “The Taker” appeared on his second studio album, The Silver Tongued Devil and I, released in July 1971. The album was issued by Monument Records and played a significant role in establishing Kristofferson as a major figure in country music and the emerging outlaw country movement.

Kris Kristofferson was born in 1936 in Brownsville, Texas, and before becoming a successful musician, he held a variety of jobs, including working as a Rhodes Scholar and serving in the U.S. Army. His transition into songwriting was unconventional, and his early years in Nashville were marked by financial hardship. By the late 1960s, however, his songs began to gain attention after being recorded by prominent artists. “The Taker” was written during this era, reflecting Kristofferson’s focus on flawed characters and emotionally complex situations.

The Silver Tongued Devil and I was Kristofferson’s second album, following his self-titled debut released in 1970. The album contained several songs that later became well-known through recordings by other artists. “The Taker” fits thematically with the album’s emphasis on introspection, moral ambiguity, and personal responsibility. Musically, it blends traditional country structures with folk-influenced songwriting, a style that distinguished Kristofferson from many of his contemporaries in Nashville at the time.

Lyrically, “The Taker” presents a narrator who admits to exploiting a romantic relationship for personal comfort rather than genuine commitment. The song’s straightforward language and confessional tone place responsibility squarely on the narrator rather than portraying him as a misunderstood figure. This perspective was consistent with Kristofferson’s broader songwriting approach, which often explored human weakness without romanticizing it. The song does not resolve the situation optimistically, instead leaving listeners with a sense of emotional consequence.

Although Kristofferson recorded “The Taker” himself, the song achieved its greatest commercial success through a version recorded by Waylon Jennings. Jennings included the song as the title track of his 1971 album The Taker/Tulsa and released it as a single the same year. That recording became a significant hit on the country charts, reaching the Top 5 on the Billboard Hot Country Songs chart. The success of Jennings’ version further highlighted Kristofferson’s influence as a songwriter whose material resonated strongly with other performers.

The chart performance of “The Taker” helped solidify its place in early-1970s country music, a period marked by shifting attitudes toward songwriting and artistic independence. While Kristofferson himself did not always achieve high chart placements as a recording artist, his compositions frequently performed well when interpreted by established singers. This pattern reinforced his standing within the industry as a songwriter whose work carried both emotional depth and commercial appeal.

Over the decades, “The Taker” has remained part of Kris Kristofferson’s recognized catalog, representing his early songwriting voice and thematic consistency. The song reflects a time when country music was expanding beyond conventional narratives to include more personal and morally complex viewpoints. Kristofferson’s broader career later encompassed acting and continued musical output, but songs like “The Taker” remain central to understanding his impact on American songwriting and country music history.