[4] While Reeves acknowledged having a fake ID and being "very young" while with CSNY,[5] Rolling Stone stated his age as 19 in a December 1969 article.

During the recording session for The Temptations' "Cloud Nine", Reeves was apprehensive about his bass playing and switched to tambourine at the behest of producer Norman Whitfield, his recruiter and main benefactor at Motown.

Reeves stated that his most notable performance for the company was the bass part (overdubbed in Los Angeles) of "No Matter What Sign You Are", the final song recorded by Diana Ross with The Supremes.

[5] Although he has conceded that "[the band] thought I was trying to put spells on them" due to his strong interest in Native American shamanism, Reeves ultimately ascribed his termination to "Stills [having] a problem with himself, just dealing with himself.

"[5] Reeves's song "I Got Your Number" has been recorded by artists including Tom Jones, Boz Scaggs, and Johnny Bristol.

[5] In the aftermath of his tenure with the group, Reeves nevertheless contributed in earnest to several projects, including most of Young's After the Gold Rush, Crosby & Nash's eponymous debut ("Immigration Man"; 1972), Dave Mason's It's Like You Never Left (1973), an unreleased version of "Tonight's the Night" recorded by Young in early 1974, and indeterminate recordings with George Clinton following the temporary dissolution of Parliament Funkadelic in the early 1980s.

[8] Both Young and Lofgren continue to laud Reeves's playing style, noting his versatility and ability to move fluidly between simple and complex bass lines.