Overview
Good as I Been to You, released in November 1992, occupies a unique place in Bob Dylan’s catalog as his first solo acoustic album in nearly three decades. Coming off the commercially and critically disappointing Under the Red Sky (1990), Dylan returned to the roots of American folk music, recording a collection of traditional folk and blues covers. The album includes songs like “Frankie & Albert,” “Hard Times,” “Blackjack Davey,” and “Froggie Went A-Courtin’.” Recorded entirely in his Malibu home studio, the album features Dylan’s raw, unadorned vocals accompanied only by his acoustic guitar and occasional harmonica. This back-to-basics approach harkened back to his early days as a folk singer in the 1960s, with many seeing it as a homage to the traditional music that had shaped his career.
Critically, Good as I Been to You was well-received, especially compared to its predecessor. While some fans and critics lamented the absence of original Dylan compositions, others appreciated the sincerity and intimacy of the performances. The album’s sparse production and Dylan’s weathered voice added a layer of authenticity that resonated with listeners, particularly on tracks like “Hard Times,” where his vocal delivery conveyed a deep sense of sorrow. The album peaked at number 51 in the United States and number 18 in the United Kingdom, showing that there was still a significant audience for Dylan’s music, even when it didn’t include new original material.
The impact of Good as I Been to You on Dylan’s career was significant, as it marked the beginning of a creative resurgence. This album, followed by World Gone Wrong in 1993, another collection of traditional songs, allowed Dylan to reconnect with his musical roots and re-establish his artistic identity. These works set the stage for his critically acclaimed return to original songwriting with Time Out of Mind in 1997. Good as I Been to You also demonstrated Dylan’s continued relevance as an interpreter of traditional music, showing that even after decades in the business, he could still surprise and engage audiences with unexpected choices.
Recording
The lead-up to Good as I Been to You began during a period of introspection and a desire to reconnect with the music that had originally inspired Dylan. Following a series of underwhelming albums in the late 1980s and early 1990s, Dylan turned to traditional folk and blues covers, drawing from the deep well of American roots music. His history with cover songs had been well-established over his career, particularly during live performances, where he often revisited folk standards and blues tracks. However, unlike previous works like Self Portrait (1970) or Down in the Groove (1988), which featured covers in a more eclectic and sometimes jarring mix, Good as I Been to You was conceived as a cohesive, solo acoustic project. The album was recorded in a modest setting—a small garage studio at Dylan’s Malibu home—and featured only Dylan’s voice, guitar, and occasional harmonica. This minimalist approach marked a deliberate return to his roots, echoing the sound of his early 1960s recordings .
The recording sessions for Good as I Been to You were characterized by their simplicity and intimacy. Dylan worked with a basic setup, with little to no studio embellishments, allowing the raw emotion of the songs and his performances to shine through. This approach was a stark contrast to the more polished and production-heavy albums of the 1980s. Dylan’s manager and longtime friend, Debbie Gold, played a crucial role in convincing him to pursue this stripped-down direction, which was executed with the help of sound engineer Micajah Ryan. The selection of songs—traditional tunes like “Frankie & Albert,” “Sittin’ on Top of the World,” and “Froggie Went A-Courtin'”—reflected Dylan’s deep respect and affection for the folk tradition. By revisiting these time-honored songs, Dylan was not only paying homage to the music that had shaped his career but also reconnecting with the simplicity and directness that had defined his early work .
Critical Reception
The reception to Good as I Been to You was generally positive, particularly in light of the lukewarm response to Dylan’s previous album, Under the Red Sky. Critics appreciated the album’s raw, stripped-down approach, highlighting Dylan’s ability to breathe new life into traditional folk and blues songs with his distinctive voice and acoustic guitar work. While some fans missed original compositions, many praised the sincerity and authenticity of the performances, seeing it as a return to form that echoed Dylan’s early folk roots. The album’s intimate, home-recorded feel and the selection of lesser-known traditional material were seen as bold and refreshing choices that reconnected Dylan with his musical heritage. Overall, Good as I Been to You was considered a welcome and necessary step in Dylan’s artistic journey, setting the stage for the creative renaissance that followed in the late 1990s.
DYLAN on THE ALBUM
- On the Creation of the Album: Dylan mentioned, “Donnie suggested me making this record years ago. It just took a while to organise getting the songs together”.
- On the Nature of the Music: He stated, “These are just good as it’s possible for me to play them”.
- On His Musical Influences: Dylan reflected, “My songs come out of folk music. I love that whole pantheon. To me there’s no difference between Muddy Waters and Bill Monroe”.
- On Recording Process: He described the recording of “Good As I Been to You” as a return to simplicity, saying, “When recording spare folk albums… an engineer suggested he pin a microphone to each guitar string. It was the height of insanity”.
- On the Connection to Traditional Music: Dylan emphasized the importance of traditional songs in his work: “Those old songs are my lexicon and my prayer book. All my beliefs come out of those old songs”.
- On the Reception of His Work: He expressed that the songs on “Good As I Been to You” take “time and attention to appreciate”.
- On Artistic Intent: Dylan noted the emotional depth of his songs, saying, “You can miss a line and you miss it… they strike you where you can feel it, and you can feel what they mean”.
- On His Career Transition: He remarked on his shift from original songwriting to focusing on traditional songs: “I found myself spending more and more time in the studio doing less and less”.
- On the Themes of the Album: Dylan indicated that the songs do not romanticize their subjects, stating, “These songs do not romanticize the gamblers, murderers and ’rounders’ that populate them”.