The Creation of the Hit Song Mr Jones: How Counting Crows Produced Their Signature Anthem

Adam Duritz Remembers the Beginnings

Our first albums were primarily recorded in homes situated in the hills above Los Angeles. August and Everything After signified a significant milestone for the band, as it was their inaugural release on a major label. We each received an advance of $3,000; I used mine to purchase a classic red convertible and traveled to LA.

Every morning, I would start by listening to Pickin’ Up the Pieces by Poco, which resembles the Beatles venturing into country music. Additionally, I frequently played 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 tape that we submitted to record companies, but it proved a very difficult track to finish. It lacked a solid grasp at first. Neither a leisurely tune or a fast-paced rock song; instead, it gallops along, demanding a real feel to perform. It’s soul music – closer to the Memphis soul style than country.

Our drummer couldn’t hear the track like the others did – thus T Bone enlisted one of his idols to play it.

We looked at several producers, but when I spoke with the producer, he really get 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 effects pedals. The drummer couldn’t sync with the tempo, so T Bone called in a renowned drummer, one of Steve’s favorites, to play on it. It’s a funny story, but it was tough on Steve at the time.

My best friend Marty and I performed in bands together before Counting Crows. His father, a flamenco musician, had succeeded in Spain and was back in the Bay Area doing a series of shows. We went one of his shows and hung out with the musicians visiting bars. The next morning, I went home and wrote the song. It’s about our experience that night, dreaming we were accomplished artists so we could connect with the women more easily.

I believe, it’s one of the best pieces I’ve ever written. After playing another track on SNL in 1994, the album jumped dozens of positions each week for over a month. Afterwards, Mr Jones turned into a major success.

The Multi-Instrumentalist Shares His Memories

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

One evening, Adam had a fresh recording he’d just done with the guitarist. He played me this song titled the now-famous tune. Recorded with a Dr Rhythm pocket drum machine that sounded like a arcade sound or popcorn popping, but his vocals were exceptional.

After the producer took over, it was a complete transformation of Counting Crows. The approach toward roots influenced by Bob Dylan, Van Morrison, and the Band.

Adam called me asking, “Hey, man, can you come down and play on this album?” 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 recently used.

T Bone told me to play my guitar slightly behind the drums. His words were, “If you rush ahead of the drums makes you sound like an adolescent rushing.” With his southern accent, 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 reaction to the grunge movement. The tragic end of Cobain felt like the culmination. Back then, everyone were on heroin. The aim was self-destruction, not enlightenment. The nihilism had gone too far, and the pendulum swung toward something emotional and heartfelt. Their music blended folk and rock with a heavy dose of Van Morrison soul.

Mr Jones never gets old. Sometimes, when performing with Adam, I remember that moment when he played me the demo. It’s insane.