…in the sense of “unremarkable.”

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[5.22]

Will Adams: What, did someone play Mad Libs to determine the lineup? Did someone pluck it from a music fanfic site? In either case, it’s the most interesting thing about this languid void of a song.
[4]

Alfred Soto: The sample and billing couldn’t have been more inapposite if they said “Everyday ft. Phil Collins, Jason DeRulo & Diplo.” A$AP’s album offers tastier morsels than this bland bragging and dyke-baiting. He doesn’t believe it, we don’t believe, he knows we know he doesn’t believe it.
[3]

Iain Mew: The best part is Miguel repeating the choice Rod Stewart sample and turning the song into its own superior instant cover. Rocky is fine but I wish they’d gone further with that trick, gone round and round the loop for more voices to put their own spin on it. Someone call Natasha Bedingfield!
[6]

Thomas Inskeep: One of Mark Ronson’s weirdest production jobs. This starts around a sample of Rod singing on a 1972 Python Lee Jackson track, which Miguel then re-sings. A$AP Rocky comes in, and I wish he had more to say than lines like “I look so fuckin’ good most dykes’ll fuck me”: charming. Then the song’s middle third is slightly trappish, before returning to its slow, syrupy tempo for the song’s end. Rocky really likes calling people “bitch,” and Miguel feels completely wasted here. Triumph of producer over artist, then; I want to like this a lot more than I do.
[4]

Micha Cavaseno: Like a decade old BAPE hoodie, Rocky’s charm is wondering what we were thinking. His personality is nil, and Ronson’s hip-hop sensibilities always inexplicably sucked when dealing with the presence of rappers. So what is left to save this song? Miguel going back to his old genesis, singing throwaway hooks for rappers whose most identifiable qualities were their preference for scarves? Steven Rodriguez didn’t die to bring us a more flagrant and ignorant Lupe Fiasco, but his protégé has no problem taking up that unnecessary and undesirable role.
[3]

Jonathan Bradley: As a crate-digger, Ronson’s a body-snatcher, and Rocky’s dissociative post-modernism was never likely to benefit from taxidermy. His rhymes here are deft, and that’s all: his couplets are usually as sticky as hooks. As a mixtape offcut, the Rod Stewart sample would have had novelty value, as an album track it would have been a curio, but as a single it’s a reminder that Ronson sounds best when he’s in simpatico with the coattails on which he rides.
[5]

Scott Mildenhall: Stodgy early ’70s rock not ordinarily released in the single format is one of the most boring genres going, and Rod Stewart is one of the dullest superstars in pop history, so “Everyday” catches both at a very good moment. The sample is great, and Miguel is Stewart’s elegant counterbalance. From there, not a lot can go wrong, even if the ideal gruffly delivered “everyday” from the early ’70s is actually Noddy Holder’s.
[7]

Ramzi Awn: It’s not everyday your deepest, darkest secret hopes come true, but A$AP Rocky is living proof that the world sometimes listens: Rod Stewart, ladies and gentleman. The Ronson and Miguel produced smash is a surefire summer single bringing to mind new-school throwbacks like The-Dream’s “My Love” or MC’s own “Dedicated,” built for summer porches and ice lemonade. But packing more heat. 
[9]

Brad Shoup: Four guys wrote a White Album song without the RZA — pretty impressive, as it goes.
[6]