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

Adam Duritz Remembers the Early Days

The initial four records were mostly recorded in houses located in the foothills above Los Angeles. Their debut major label album signified a significant milestone for the group, as it was their inaugural release on a large record company. Each member received an advance of $3,000; with it, I to buy a classic red convertible and traveled to LA.

Each day, I would start by playing a Poco track, which sounds like the Beatles exploring American folk. Additionally, I frequently played a jazz record that my father had acquired as a complimentary item at a Texaco station when I was young.

Mr Jones was included on a demo that we sent to record companies, but it proved a very difficult track to complete. We didn’t have a solid grasp at first. It’s not a slow ballad or a straight ahead rock song; instead, it gallops along, demanding a deep understanding to perform. The style is soulful – closer to the Stax Records style than country.

Our drummer struggled to grasp the track like the rest of us did – so T Bone enlisted one of his heroes to play it.

We considered several production candidates, but when I spoke with T Bone Burnett, he really understand where the band was at. There was a lot of promise, but I wasn’t satisfied with our overall tone – we hadn’t learned how to work together. We removed all the synthesizers and guitar effects. Our drummer Steve Bowman had trouble with the song’s rhythm, so T Bone called in Denny Fongheiser, one of Steve’s favorites, to play on it. It’s a funny story, but it was hard on Steve back then.

My best friend Marty and I had played in groups together before Counting Crows. His father, David Serva, had succeeded in Spain and was returning in the San Francisco area doing a series of shows. Attended one of his shows and spent the night with the musicians visiting bars. Next day, I returned and composed Mr Jones. The lyrics reflect our experience that evening, dreaming we were cool musicians so we could connect with the girls more easily.

In my view, it’s one of the best songs I’ve composed. After playing Round Here on SNL in 1994, the record climbed 40 spots each week for five or six weeks. Following that, the song became a huge hit.

The Multi-Instrumentalist Recalls His Perspective

Back in the 80s, the band members were living together in a industrial building in Berkeley. Previously, I performed with another band and had an side project named Monks of Doom.

Returning home one night, Adam had a fresh recording he’d created with Bryson. He played me this track titled the now-famous tune. It was done with a Dr Rhythm pocket drum machine that resembled a video game or popcorn popping, but his vocals were exceptional.

After the producer got involved, it was a complete transformation of Counting Crows. The approach toward roots influenced by folk and soul legends.

I got a call from Adam asking, “Listen, can you join us and play on this album?” When I arrived, T Bone had moved us to a studio in LA’s Encino – formerly used by a Jackson 5 member. There were guitars that Bob Dylan had recently used.

T Bone told me to play my guitar slightly behind the drums. He said, “Playing too fast before the drums comes off like an teenager rushing.” He has a southern accent, and his guidance was to imagine putting your feet up on the mixing board and staying casual during the performance.

The band was, to an extent, a response to grunge. The tragic end of Cobain felt like the culmination. Back then, everyone were on heroin. The aim was obliteration, not mind expansion. That negativity had reached an extreme, and the pendulum swung toward something emotional and heartfelt. Counting Crows blended acoustic and electric with a strong influence of Van Morrison soul.

The song never gets old. Sometimes, when I am rocking out with the singer, I remember that moment when he played me the early version. It’s insane.