The Making of Mr Jones: The Way Counting Crows Developed Their Iconic Anthem

The Lead Singer Remembers the Formative Period

Our first four records were primarily produced in homes situated in the hills above Los Angeles. Their debut major label album marked a major milestone for the band, as it was their inaugural release on a major label. We each got an upfront payment of $3,000; with it, I to purchase a classic red convertible and traveled to LA.

Each day, my routine included 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 Texaco station during my childhood.

Mr Jones was part of a demo tape that we sent to labels, but it was a challenging track to finish. It lacked a clear direction at first. Neither a slow ballad or a fast-paced rock song; rather, it moves with a rhythm, demanding a deep understanding to play. The style is soulful – more akin to the Memphis soul sound than country.

The band’s drummer couldn’t hear the song as the rest of us did – so T Bone brought in one of his heroes to play it.

We looked at a few production candidates, but when I spoke with the producer, he seemed to understand where the band was at. There was great potential, but I wasn’t satisfied with our sound – we hadn’t learned how to work together. We removed all the synthesizers and guitar effects. Our drummer Steve Bowman couldn’t sync with the tempo, so T Bone invited a renowned drummer, one of Steve’s heroes, to lay down the drums. It’s a funny story, 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, David Serva, had made it in Spain and was returning in the San Francisco area performing a tour. Attended one of his performances and hung out with the musicians visiting bars. Next day, I went home and composed the song. The lyrics reflect me and Marty that night, dreaming we were accomplished artists so we could connect with the women more easily.

In my view, it’s one of the best pieces I’ve composed. After playing another track on Saturday Night Live in 1994, the record jumped 40 spots each week for five or six weeks. Afterwards, Mr Jones turned into a huge hit.

The Multi-Instrumentalist Recalls His Perspective

In the late 1980s, 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.

One evening, Adam had a fresh recording he’d created with Bryson. He played me this song titled the now-famous tune. It was done with a Dr Rhythm pocket drum machine that resembled a arcade sound or popcorn popping, but his vocals were on another level.

Once T Bone got involved, it was a total reinvention of Counting Crows. They shifted toward roots influenced by Bob Dylan, Van Morrison, and the Band.

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 recording space in Encino, Los Angeles – previously used by Tito Jackson. Inside, we found guitars that Dylan had recently used.

He told me to play my guitar slightly behind the beat. He said, “Playing too fast ahead of 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 while playing.

Counting Crows was, in some ways, a response to grunge. The tragic end of Cobain felt like the final act. Back then, many used heroin. The goal was self-destruction, not enlightenment. The nihilism had gone too far, and the pendulum swung toward something more human and sincere. Counting Crows combined folk and rock with a strong influence of soulful vibes.

The song never gets old. Sometimes, when performing with Adam, I recall that moment when he first shared the demo. Absolutely incredible.