[2] Walker's version of The Lillywhite Sessions was a critical success, with many publications commending the diverse interpretations of the material and melding of disparate styles; the album was also praised by Dave Matthews himself.

[3] Matthews then flew to Los Angeles to work with producer Glen Ballard on the songs, but the pair quickly wrote new material which would make up the album Everyday (2001).

[6] Conversely, the version of "Bartender" appearing on the album sticks closely to the original, as Walker felt it had many similarities to "drone-y psych folk… my favorite music in the world".

[8] Writing for Pitchfork, Paul Thompson felt the album tried to "seek a kind of rapprochment" between Walker's appreciation for DMB and current favorite artists of his.

[9] In a review for Paste, Annie Galvin listed "Grey Street" and "Digging a Ditch" among the album's high points, describing the former as an "avant-garde tone piece that unravels like a symphonic soundtrack to the apocalypse" and praising the latter's "gut-punch percussion" and "J Mascis–style sawing on electric guitar".

[12] Galvin also praised the album's more faithful renditions, such as "Bartender" and "Grace Is Gone", while criticizing the instrumentation of "Big Eyed Fish" as "boastful noodling" and calling the "discordant interpretation" of "Monkey Man" "unlistenable at times".