The Creation of the Hit Song Mr Jones: The Way Counting Crows Developed Their Defining Track

Adam Duritz Remembers the Beginnings

Our first four records were mostly recorded in houses located in the hills above Los Angeles. Their debut major label album marked a major step for the group, as it was their inaugural release on a major label. Each member got an upfront payment of $3,000; with it, I to purchase a classic red convertible and traveled to LA.

Each day, I would start by playing a Poco track, which sounds like the Beatles venturing into American folk. Additionally, I frequently played a jazz record that my father had picked up as a free giveaway at a gas station during my childhood.

Mr Jones was included on a demo tape that we sent to labels, but it proved a very difficult song to complete. It lacked a clear direction at first. It’s not a leisurely tune or a straight ahead rock song; instead, it moves with a rhythm, requiring a real feel to perform. The style is soulful – closer to the Stax Records style than country.

The band’s drummer couldn’t hear the song like the rest of us did – so T Bone brought in one of his idols to perform on it.

We considered a few production candidates, but when I discussed things with the producer, he really understand where the group was at. There was great potential, but I didn’t like with our overall tone – we hadn’t learned how to be a band. Eliminated all the synths and guitar effects. The drummer couldn’t sync with the song’s rhythm, so the producer called in Denny Fongheiser, one of Steve’s favorites, to lay down the drums. Looking back, it’s amusing, but it was tough on Steve back then.

My best friend Marty and I performed in groups together prior to Counting Crows. Marty’s dad, David Serva, had made it in Spain and was back in the San Francisco area performing a tour. We went one of his shows and spent the night with the flamenco troupe visiting bars. Next day, I returned and composed Mr Jones. The lyrics reflect our experience that evening, dreaming we were accomplished artists so we could talk to the women more easily.

In my view, it’s among the finest songs I’ve composed. We performed another track on SNL in 1994, the record jumped 40 spots weekly for over a month. Following that, Mr Jones became a huge hit.

David Immerglück Recalls His Perspective

In the late 1980s, the band members were living together in a industrial building in Berkeley. I had been playing with Camper Van Beethoven and was in an offshoot band called Monks of Doom.

Returning home one night, Adam had a fresh recording he’d created with the guitarist. He played me this song titled Mr Jones. Recorded with a basic drum machine that sounded like a arcade sound or popcorn popping, but his singing were on another level.

After the producer took over, it was a total reinvention of Counting Crows. The approach toward roots echoing folk and soul legends.

Adam called me asking, “Listen, can you come down and play on this album?” When I got there, T Bone had moved us to a recording space in Encino, Los Angeles – previously used by a Jackson 5 member. There were guitars that Bob Dylan had just recorded on.

He instructed me to perform slightly behind the beat. His words were, “If you rush ahead of the drums makes you sound like an adolescent rushing.” He has a Texas drawl, and his guidance was to imagine putting your feet up on the mixing board and chewing gum while playing.

Counting Crows was, in some ways, a reaction to the grunge movement. The tragic end of Cobain felt like the culmination. Back then, many were on heroin. The aim was obliteration, not mind expansion. That negativity had gone too far, and the pendulum swung toward something more human and sincere. Their music blended acoustic and electric with a heavy dose of soulful vibes.

Mr Jones remains timeless. Sometimes, when I am rocking out with the singer, I remember that moment when he played me the demo. It’s insane.