Jay Farrar's new band Son Volt released Trace in late 1995 to critical praise and good sales numbers.

The song contains several overt references to the breakup of Uncle Tupelo, including the addition of insults that Farrar used against Tweedy—specifically one calling him a "mama's boy".

[9][10] The song concludes with the artist lashing out against the listener with satirical self-pity, a rebellion against the way that fans saw Uncle Tupelo as only an archetype of Gram Parsons inspired country rock.

[11] The theme of a "tortured artist" is found in other songs as well; the end of "Sunken Treasure" features Tweedy calling for the renewal of his youth as a punk rocker.

"Hotel Arizona", "Sunken Treasure", and "Misunderstood" featured personal language and more surrealism compared to alternative country songs such as "The Lonely 1" and "Far, Far Away".

[13] Wilco sought to incorporate influences from other bands, but not to an overbearing degree; however, they were unable to accomplish this with songs like the Rolling Stones-influenced "Monday".

Tweedy approached record executive Joe McEwen, who had originally signed Uncle Tupelo to a Warner Brothers label, about selling Being There at a single album price.

It was the last album for multi-instrumentalist Max Johnston, who left because he was undergoing marital problems and believed that Bennett was taking over his place in the band.

AllMusic editor Jason Ankeny gave the album a four-and-a-half stars and referred to it as "the group's great leap forward."

He praised the band's ability to juxtapose psychedelia and power pop with tracks that "wouldn't sound at all out of place on Exile on Main Street".

"[28] Ryan Schreiber of Pitchfork called Wilco "massively improved as both a band and as songwriters" but also noted that "the two-disc set is really nothing more than a marketing scheme.

[34] "Outtasite (Outta Mind)" was released as a single, and received moderate airplay on some college rock radio stations.