The Story of the Hit Song Mr Jones: How Counting Crows Produced Their Defining Song

Adam Duritz Remembers the Formative Period

Our first albums were mostly recorded in houses situated in the foothills above Los Angeles. Their debut major label album signified a significant step for the group, as it was their inaugural release on a large record company. Each member received an upfront payment of $3,000; I used mine to purchase a classic red convertible and drove it to LA.

Each day, I would start by playing Pickin’ Up the Pieces by Poco, which resembles the Beatles exploring country music. Also, I was into a jazz record that my dad had picked up as a complimentary item at a Texaco station when I was young.

Mr Jones was included on a demo that we submitted to record companies, but it proved a challenging track to finish. We didn’t have a solid grasp at first. It’s not a slow ballad nor a fast-paced rock song; instead, it moves with a rhythm, demanding a deep understanding to perform. The style is soulful – more akin to the Memphis soul style than country.

Our drummer struggled to grasp the song as the rest of us did – so the producer brought in one of his heroes to perform on it.

We looked at several production candidates, but when I discussed things with T Bone Burnett, he seemed to get where the band was headed. We had a lot of promise, but I didn’t like with our overall tone – we were still learning how to work together. Eliminated all the synths and effects pedals. The drummer had trouble with the tempo, so the producer called in a renowned drummer, one of Steve’s heroes, to lay down the drums. It’s a funny story, but it was hard on Steve back then.

My best friend Marty and I performed in bands together prior to Counting Crows. Marty’s dad, David Serva, had succeeded in Spain and was back in the San Francisco area performing a tour. Attended one of his shows and spent the night with the musicians bar-hopping. Next day, I returned and wrote Mr Jones. It’s about me and Marty that evening, wishing we were cool musicians so we could connect with the girls more confidently.

In my view, it’s among the finest pieces I’ve composed. After playing another track on Saturday Night Live in 1994, the record jumped 40 spots weekly for over a month. Following that, Mr Jones became a huge hit.

David Immerglück Shares His Memories

Back in the 80s, Adam, David Bryson, and I were living together in a warehouse complex in Berkeley. I had been playing with Camper Van Beethoven and had an side project named Monks of Doom.

One evening, I found Adam with a new demo he’d created with the guitarist. I heard this track titled the now-famous tune. It was done with a basic drum machine that resembled a arcade sound or popcorn popping, but his singing were exceptional.

After the producer got involved, it felt like a complete transformation of Counting Crows. The approach toward roots influenced by Bob Dylan, Van Morrison, and the Band.

I got a call from Adam asking, “Listen, can you join us and contribute to this record?” By the time I arrived, T Bone had relocated us to a recording space in Encino, Los Angeles – formerly used by a Jackson 5 member. Inside, we found guitars that Dylan had just recorded on.

He instructed me to perform slightly behind the beat. His words were, “If you rush before the drums makes you sound like an adolescent hurrying.” With his southern accent, and his advice was to visualize putting your feet up on the mixing board and staying casual during the performance.

Counting Crows was, to an extent, a response to the grunge movement. Kurt Cobain’s death seemed the final act. At the time, many used heroin. The aim was self-destruction, not enlightenment. That negativity had reached an extreme, and the pendulum swung toward something emotional and heartfelt. Their music combined folk and rock with a strong influence of Van Morrison soul.

Mr Jones remains timeless. On stage, when I am rocking out with the singer, I recall that time when he played me the demo. Absolutely incredible.