Introduction
“Back to Bein’ Me” is a mid‑tempo, neotraditional country song recorded by the legendary George Strait, featured on his 1988 album If You Ain’t Lovin’, You Ain’t Livin’. Released as the album’s B‑side to the hit single “Baby Blue,” this track exemplifies the roots‑first approach that cemented Strait’s reputation as a leading figure in the neotraditional country movement of the 1980s .
Penned by acclaimed songwriters Dean Dillon and Hank Cochran, the song demonstrates the powerful synergy that often defines Strait’s music. Dillon, a prolific composer whose work with George Strait includes classic hits like “Unwound” and “The Chair,” was inducted into the Nashville Songwriters Hall of Fame in 2020. His collaboration with mentor Hank Cochran yielded “Back to Bein’ Me,” blending resonant melodies with heartfelt storytelling .
Produced by Jimmy Bowen alongside George Strait, the track shares its production credits with the B‑side partner “Baby Blue,” reinforcing the sonic consistency and polished arrangements that characterize Strait’s recordings of that era . With its reflective lyrics capturing the emotional aftermath of heartbreak and the quiet resolve to rediscover one’s true self, “Back to Bein’ Me” showcases Strait’s vocal sincerity and his affinity for traditional country themes—lost love, self‑reclamation, and emotional resilience.
Though it did not receive standalone single status, the song solidified Strait’s considerable output in 1988, a year in which he maintained his chart dominance and continued to define mainstream country with an authentic blend of tradition and polish . Positioned alongside chart‑toppers like “Baby Blue,” “Ocean Front Property,” and “All My Ex’s Live in Texas,” “Back to Bein’ Me” stands as a strong album cut, reflective of Strait’s artistic consistency and emotional depth during a prolific period of his career.
In summary, “Back to Bein’ Me” exemplifies George Strait’s mastery of traditional storytelling, heartfelt performance, and polished production—an enduring example of his pivotal contributions to neotraditional country in the late 1980s.