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

Adam Duritz Remembers the Formative Period

Our first four records were primarily produced in houses situated in the hills above Los Angeles. August and Everything After marked a major milestone for the band, as it was their inaugural release on a large record company. We each got an advance of $3,000; with it, I to buy a 1971 cherry red VW Karmann Ghia and traveled to LA.

Each day, I would start by playing a Poco track, which resembles the Beatles exploring American folk. Also, I was into a jazz record that my dad had acquired as a free giveaway at a gas station when I was young.

Mr Jones was part of a demo that we sent to record companies, but it was a challenging song to finish. We didn’t have a solid grasp at first. Neither a slow ballad or a straight ahead rock song; instead, it gallops along, requiring a deep understanding to play. The style is soulful – closer to the Stax Records sound than country.

The band’s drummer couldn’t hear the song like the rest of us did – so the producer brought in 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. We had great potential, but I didn’t like with our overall tone – we were still learning how to be a band. We removed all the synths and guitar effects. Our drummer Steve Bowman had trouble with the song’s rhythm, so the producer invited Denny Fongheiser, one of Steve’s heroes, to lay down the drums. Looking back, it’s amusing, but it was hard on Steve back then.

My best friend Marty and I had played in bands together prior to Counting Crows. His father, David Serva, had made it in Spain and was back in the Bay Area doing 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. It’s about our experience that night, wishing we were cool musicians so we could talk to the girls more easily.

I believe, it’s one of the best songs I’ve composed. We performed Round Here on SNL in 1994, the album climbed dozens of positions weekly for five or six weeks. Afterwards, Mr Jones became a major success.

The Multi-Instrumentalist Shares His Perspective

Back in the 80s, the band members were sharing a space in a warehouse complex in Berkeley. I had been playing with Camper Van Beethoven and was in an side project called Monks of Doom.

Returning home one night, I found Adam with a fresh recording he’d created with the guitarist. I heard this song called Mr Jones. It was done with a basic drum machine that resembled a arcade sound or popcorn popping, but his singing were exceptional.

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

I got a call from Adam asking, “Hey, man, can you come down and contribute to this album?” When I arrived, the producer had moved us to a recording space in Encino, Los Angeles – previously used by Tito Jackson. Inside, we found instruments that Bob Dylan had recently used.

He told me to perform slightly behind the drums. He said, “If you rush before the drums makes you sound like an adolescent rushing.” With his southern accent, and his advice was to imagine putting your feet up on the console and staying casual during the performance.

Counting Crows was, to an extent, a reaction to the grunge movement. Kurt Cobain’s death felt like the culmination. At the time, many were on heroin. The goal was obliteration, not enlightenment. The nihilism had gone too far, and the pendulum swung toward something emotional and heartfelt. Counting Crows blended acoustic and electric with a strong influence of soulful vibes.

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