The Making of the Hit Song Mr Jones: How Counting Crows Crafted Their Signature Track

Adam Duritz Shares the Beginnings

Our first albums were mostly recorded in homes situated in the foothills above Los Angeles. Their debut major label album signified a significant step for the band, as it was their inaugural release on a large record company. Each member received an upfront payment of $3,000; with it, I to purchase a 1971 cherry red VW Karmann Ghia and drove it to LA.

Each day, I would start by playing Pickin’ Up the Pieces by Poco, which resembles the Beatles venturing into country music. Additionally, I was into a Benny Goodman album that my dad had picked up as a complimentary item at a gas station during my childhood.

The song Mr Jones was part of a demo that we sent to record companies, but it proved a very difficult song to finish. We didn’t have a solid grasp at first. Neither a leisurely tune nor a fast-paced rock song; rather, it moves with a rhythm, requiring a real feel to play. The style is soulful – more akin to the Memphis soul style than country.

Our drummer couldn’t hear the song like the rest of us did – so T Bone brought in one of his idols to play it.

We looked at a few producers, but when I discussed things with the producer, he really get where the group was at. We had great potential, but I wasn’t satisfied with our sound – we were still learning how to be a band. We removed all the synths and effects pedals. Our drummer Steve Bowman couldn’t sync with the song’s rhythm, so the producer called in a renowned drummer, one of Steve’s favorites, to play on it. Looking back, it’s amusing, but it was tough on Steve at the time.

My best friend Marty and I performed in bands together prior to Counting Crows. Marty’s dad, a flamenco musician, had succeeded in Spain and was back in the Bay Area doing a tour. We went one of his performances and spent the night with the musicians visiting bars. Next day, I returned and composed Mr Jones. The lyrics reflect me and Marty that evening, wishing we were cool musicians so we could talk to the women more confidently.

In my view, it’s one of the best songs I’ve composed. After playing Round Here on Saturday Night Live in 1994, the record jumped 40 spots weekly for five or six weeks. Following that, the song became a major success.

David Immerglück Shares His Memories

Back in the 80s, Adam, David Bryson, and I were sharing a space in a industrial building in Berkeley. I had been playing with Camper Van Beethoven and had an offshoot band called Monks of Doom.

One evening, I found Adam with a fresh recording he’d just done with the guitarist. I heard this song called the now-famous tune. It was done with a basic drum machine that sounded like a video game or random noise, but his vocals were on another level.

Once T Bone took over, it was a complete transformation of Counting Crows. The approach toward roots echoing folk and soul legends.

Adam called me asking, “Hey, man, can you come down and contribute to this album?” When I arrived, the producer had moved us to a studio in Encino, Los Angeles – previously used by a Jackson 5 member. There were guitars that Dylan had just recorded on.

He told me to perform slightly behind the beat. His words were, “If you rush ahead of the drums makes you sound like an teenager hurrying.” He has a Texas drawl, and his guidance was to visualize putting your feet up on the mixing board and staying casual while playing.

Counting Crows was, in some ways, a response to grunge. Kurt Cobain’s death felt like the culmination. At the time, everyone were on heroin. The goal was obliteration, not enlightenment. That negativity had reached an extreme, and the pendulum swung toward something emotional and sincere. Their music blended folk and rock with a strong influence of soulful vibes.

The song remains timeless. Sometimes, when I am rocking out with Adam, I remember that time when he played me the early version. Absolutely incredible.