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

Adam Duritz Shares the Formative Period

Our first four records were primarily produced in homes situated in the foothills above Los Angeles. Their debut major label album marked a significant milestone for the band, as it was their inaugural release on a major label. Each member received an advance of $3,000; I used mine to purchase a 1971 cherry red VW Karmann Ghia and traveled to LA.

Each day, I would start by listening to Pickin’ Up the Pieces by Poco, which sounds like the Beatles venturing into American folk. Also, I frequently played a jazz record that my father had acquired as a complimentary item at a gas station when I was young.

The song Mr Jones was included on a demo that we submitted to record companies, but it was a challenging track to finish. It lacked a clear direction at first. Neither a leisurely tune or a fast-paced rock song; instead, it gallops along, requiring a real feel to play. It’s soul music – closer to the Stax Records sound than folk.

Our drummer couldn’t hear the song as the others did – thus the producer enlisted one of his idols to perform on it.

We considered a few production candidates, but when I spoke with the producer, he really understand where the band was headed. There was a lot of promise, but I wasn’t satisfied with our overall tone – we were still learning how to be a band. We removed all the synthesizers and effects pedals. Our drummer Steve Bowman had trouble with the tempo, so T Bone invited Denny Fongheiser, one of Steve’s heroes, 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 groups together prior to Counting Crows. His father, a flamenco musician, had made it in Spain and was returning in the Bay Area performing a tour. Attended one of his performances and spent the night with the musicians visiting bars. Next day, I returned and composed Mr Jones. It’s about me and Marty that evening, dreaming we were accomplished artists so we could talk to the girls more confidently.

I believe, it’s one of the best songs I’ve composed. After playing Round Here on Saturday Night Live in 1994, the record jumped dozens of positions each week for over a month. Afterwards, the song became a huge hit.

The Multi-Instrumentalist Shares His Perspective

In the late 1980s, the band members were sharing a space in a industrial building in Berkeley. I had been playing with another band and had an offshoot band called Monks of Doom.

Returning home one night, Adam had a new demo he’d just done with the guitarist. He played me this track called the now-famous tune. It was done with a basic drum machine that resembled a arcade sound or popcorn popping, but his singing were on another level.

Once T Bone took over, it felt like a total reinvention of Counting Crows. They shifted toward roots influenced by folk and soul legends.

I got a call from Adam saying, “Hey, man, can you come down and play on this album?” When I arrived, T Bone had moved us to a studio in Encino, Los Angeles – formerly used by a Jackson 5 member. There were instruments that Dylan had just recorded on.

He told me to play my guitar behind the tempo the drums. He said, “Playing too fast ahead of the drums comes off like an teenager rushing.” He has a Texas drawl, and his advice was to imagine relaxing on the mixing board and chewing gum during the performance.

The band was, to an extent, a response to the grunge movement. Kurt Cobain’s death seemed the culmination. Back then, many used heroin. The goal was obliteration, not mind expansion. That negativity had gone too far, and the pendulum swung toward something emotional and heartfelt. Their music combined folk and rock with a heavy dose of soulful vibes.

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