The Story of Mr Jones: How Counting Crows Crafted Their Signature Track

Adam Duritz Remembers the Beginnings

The initial albums were mostly produced in homes situated in the hills above Los Angeles. Their debut major label album signified a major milestone for the group, as it was their first release on a major label. Each member got an upfront payment of $3,000; I used mine to purchase a 1971 cherry red VW Karmann Ghia and drove it to LA.

Each day, my routine included by listening to a Poco track, which sounds like the Beatles venturing into American folk. Also, I was into a jazz record that my dad had picked up as a complimentary item at a gas station during my childhood.

The song Mr Jones was included on a demo tape that we sent to labels, but it was a very difficult track to complete. We didn’t have a clear direction at first. Neither a leisurely tune nor a fast-paced number; instead, it gallops along, demanding a deep understanding to perform. The style is soulful – closer to the Memphis soul style than folk.

Our drummer struggled to grasp the song like the others did – so the producer brought in one of his idols to perform on it.

We considered a few production candidates, but when I discussed things with T Bone Burnett, he seemed to get where the band was at. There was a lot of promise, but I didn’t like with our sound – we hadn’t learned how to work together. Eliminated all the synths and guitar effects. Our drummer Steve Bowman couldn’t sync with the tempo, so the producer invited a renowned drummer, one of Steve’s heroes, to play on it. It’s a funny story, but it was tough on Steve back then.

Marty Jones and I performed in groups together before Counting Crows. His father, David Serva, had succeeded in Spain and was returning in the Bay Area performing a series of shows. We went one of his performances and hung out with the musicians bar-hopping. The next morning, I returned and wrote Mr Jones. The lyrics reflect me and Marty that night, wishing we were accomplished artists so we could connect with the girls more confidently.

In my view, it’s among the finest songs I’ve ever written. After playing another track on Saturday Night Live in 1994, the album climbed 40 spots each week for five or six weeks. Afterwards, the song turned into a major success.

The Multi-Instrumentalist Recalls His Perspective

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

Returning home one night, Adam had a new demo he’d created with Bryson. He played me this track called Mr Jones. Recorded with a basic drum machine that resembled a video game or popcorn popping, but his vocals were on another level.

Once T Bone took over, it was a complete transformation of Counting Crows. They shifted toward roots echoing Bob Dylan, Van Morrison, and the Band.

I got a call from Adam asking, “Listen, can you join us and contribute to this album?” When I arrived, the producer had relocated us to a studio in Encino, Los Angeles – previously used by Tito Jackson. Inside, we found guitars that Bob Dylan had recently used.

He told me to perform slightly behind the beat. He said, “If you rush before the drums comes off like an teenager hurrying.” With his southern accent, and his guidance was to imagine putting your feet up on the mixing board and staying casual during the performance.

Counting Crows was, in some ways, a response to grunge. The tragic end of Cobain felt like the culmination. At the time, many were on heroin. The aim was obliteration, not enlightenment. The nihilism had reached an extreme, and the trend shifted toward something emotional and sincere. Their music blended acoustic and electric with a heavy dose of soulful vibes.

The song never gets old. On stage, when I am rocking out with the singer, I remember that moment when he first shared the demo. Absolutely incredible.