In their review,
Billboard described
Garcia as a "expertly wrought, impressive effort". They highlighted the record's mellow mood and Garcia's warm voice, and recommended "Deal" and "the cosmic collage" "Late for Supper". In
Melody Maker, Williams wrote that the album contains "several very attractive songs and a couple of tracks which represent the more adventurous side of the guitarist's personality." He believed that it was inferior to
Hooteroll? (1971) as a representation of Garcia's guitar work, but added that
Garcia contains "a good, honest feeling" which would appeal to the musician's fans. "I'd be happier", he added, "if the singing was better; it does seem a waste, when the songs are so substantial." Reviewing the album retrospectively for
AllMusic, Planer dismissed Garcia's description of it as "overindulgent", praising the record as "a full-bodied artistic expression from one of rock & roll's most multi-faceted musicians." He wrote that both Deadheads and "enthusiasts of the burgeoning early-'70s
singer/songwriter movement" would enjoy the album, as the musician "redefines his immense talents and seemingly undiluted musical potential." In an article for
Rolling Stone, Browne wrote that Garcia "conjures both the singing-gambler and mad-musical-scientist sides of the Dead on what is arguably the best outside-mothership project." In an article for
ZigZag, Childs wrote that, although regarded by Garcia as a "goof", the record is "pretty fine", praising the "perfect" production and commenting that it is "a superb showcase for Garcia's ability as an incredibly versatile musician." ==Legacy==