The Story of Mr Jones: The Way Counting Crows Produced Their Iconic Song

Adam Duritz Recalls the Formative Period

The initial four records were primarily produced in houses situated in the hills above Los Angeles. August and Everything After marked a major step for the group, as it was their first release on a major label. We each got an upfront payment of $3,000; with it, I to buy a classic red convertible and drove it to LA.

Each day, my routine included by listening to a Poco track, which sounds like the Beatles exploring American folk. Additionally, I was into a Benny Goodman album that my father had picked up as a complimentary item at a gas station when I was young.

The song Mr Jones was included on a demo that we sent to record companies, but it proved a very difficult song to complete. It lacked a clear direction at first. It’s not a slow ballad nor a straight ahead rock song; instead, it moves with a rhythm, requiring a real feel to perform. The style is soulful – more akin to the Stax Records sound than folk.

Our drummer couldn’t hear the song like the rest of us did – so T Bone enlisted one of his idols to play it.

We looked at several production candidates, but when I discussed things with the producer, he really get where the band was headed. There was a lot of promise, but I wasn’t satisfied with our sound – we were still learning how to be a band. Eliminated all the synths and effects pedals. The drummer had trouble with the song’s rhythm, so the producer invited Denny Fongheiser, one of Steve’s heroes, to lay down the drums. It’s a funny story, but it was tough on Steve at the time.

Marty Jones and I had played in groups together prior to Counting Crows. Marty’s dad, a flamenco musician, had made it in Spain and was returning in the Bay Area performing a tour. Attended one of his shows and spent the night with the flamenco troupe visiting bars. The next morning, I returned and composed the song. The lyrics reflect 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 composed. We performed Round Here on Saturday Night Live in 1994, the record jumped dozens of positions weekly for five or six weeks. Afterwards, the song became a huge hit.

David Immerglück Shares His Memories

Back in the 80s, Adam, David Bryson, and I were sharing a space in a industrial building in Berkeley. Previously, I performed with another band and had an offshoot band called Monks of Doom.

One evening, I found Adam with a fresh recording he’d created with the guitarist. He played me this song titled Mr Jones. Recorded with a Dr Rhythm pocket drum machine that resembled a arcade sound or random noise, but his vocals were exceptional.

After the producer got involved, it was a total reinvention of Counting Crows. They shifted toward roots influenced by folk and soul legends.

I got a call from Adam asking, “Hey, man, can you join us and play on this record?” When I arrived, the producer had moved us to a recording space in Encino, Los Angeles – previously used by a Jackson 5 member. Inside, we found instruments that Dylan had recently used.

He told me to perform slightly behind the beat. He said, “If you rush ahead of the drums makes you sound like an adolescent hurrying.” With his southern accent, and his advice was to visualize relaxing on the mixing board and chewing gum during the performance.

The band was, to an extent, a reaction to the grunge movement. The tragic end of Cobain felt like the final act. Back then, everyone were on heroin. The aim was obliteration, not enlightenment. That negativity had gone too far, and the pendulum swung toward something more human and sincere. Counting Crows combined folk and rock with a heavy dose of soulful vibes.

The song remains timeless. On stage, when performing with Adam, I remember that moment when he played me the demo. Absolutely incredible.