Good as I Been to You is the twenty-eighth studio album by American singer-songwriter Bob Dylan, released on November 3, 1992, by Columbia Records. The title comes from the second line of "You're Gonna Quit Me,” which is the eleventh track of the album.

It is composed entirely of traditional folk songs and covers, and is Dylan's first entirely solo, acoustic album since Another Side of Bob Dylan in 1964. It is also his first collection not to feature any original compositions since Dylan in 1973.

On the charts, Good as I Been to You reached No. 51 in the US and No. 18 in the UK, and helped to restore Dylan's critical standing following the disappointing Under the Red Sky. The album's highest chart position worldwide was in Norway, where it peaked at No. 11.

Since launching the Never Ending Tour in June 1988, traditional covers became a feature at virtually every Dylan concert, often as part of an acoustic set. After recording Under the Red Sky in 1990, Dylan would not release an original song until 1997, and during that time, he would increasingly rely on his stockpile of covers for 'fresh' material. Dylan called these covers "the music that's true for me".

Dylan scheduled studio time at Chicago's Acme Studios in early June 1992, hiring long-time associate David Bromberg as his producer. An album's worth of cover songs were recorded at these sessions with the accompaniment of a full band. The recording engineers were Blaise Barton and Dan White. For reasons unknown, Dylan scrapped the release of this album, deciding to record solo acoustic material instead. Two songs from the Bromberg sessions, "Duncan and Brady" and "Miss the Mississippi", would eventually be released on the album The Bootleg Series Vol. 8: Tell Tale Signs: Rare and Unreleased 1989–2006. All of the songs for Good As I Been to You were recorded later at Dylan's garage studio at his home in Malibu, sessions that are believed to have taken place from late July to early August 1992.

Producer credit was given to Dylan's longtime friend Debbie Gold while Micajah Ryan was credited with engineering and mixing the sessions. Ryan later recalled that "Debbie had a great working relationship with Bob, so that took some of the edge off for me – and for Dylan as well. He consulted Debbie on every take. He trusted her and she was never afraid to tell him the truth, and, boy, was she persistent, often convincing him to stay with a song long after he seemed to lose interest. He’d come in each day with at least a couple of songs to work on. He’d do several takes in every key and tempo until he felt he got it".

Dylan recorded a wide range of traditional songs: "Froggie Went A-Courtin'," "Blackjack Davey" and the anti-recruiting "Arthur McBride" were part of the British and Irish tradition of folk songs. "Little Maggie" was a popular bluegrass standard. "Diamond Joe" was well-known thanks to fellow folk revivalist Ramblin' Jack Elliott. "Frankie and Albert" and "Sittin' on Top of the World" both had long, deep roots in folk-blues. Dylan also covered songs that weren't authentically traditional, such as "Tomorrow Night" (best known for Lonnie Johnson's hit version in 1947 and a version by Elvis Presley released in 1965) and Stephen Foster's "Hard Times".

When time came to sequence the album, producer Debbie Gold was unable to convince Dylan to include "You Belong to Me". Though it wasn't authentically traditional, it was popular enough to be covered by Jo Stafford, Patti Page and Dean Martin. The most popular version was recorded by the Duprees, one of the final Italian doo wop groups to make a wave in the early 1960s. Dylan's version from the Good As I Been to You sessions eventually appeared in Oliver Stone's controversial 1994 film Natural Born Killers and on its accompanying soundtrack album.