The Making of the Hit Song Mr Jones: How Counting Crows Produced Their Defining Anthem

The Lead Singer Recalls the Early Days

Our first four records were primarily produced in houses located in the foothills above Los Angeles. Their debut major label album marked a significant milestone for the group, as it was their first release on a large record company. We each received an advance of $3,000; I used mine to purchase a classic red convertible and traveled to LA.

Each day, I would start by listening to a Poco track, which sounds like the Beatles exploring country music. Additionally, I frequently played a jazz record that my dad had picked up as a complimentary item at a Texaco station during my childhood.

Mr Jones was part of a demo tape that we submitted to labels, but it proved a challenging song to complete. We didn’t have a clear direction at first. It’s not a leisurely tune or a fast-paced number; rather, it moves with a rhythm, requiring a deep understanding to play. It’s soul music – closer to the Stax Records sound than folk.

Our drummer struggled to grasp the song as the rest of us did – thus T Bone enlisted one of his heroes to perform on it.

We considered a few production candidates, but when I spoke with the producer, he really understand where the group was headed. There was great potential, but I wasn’t satisfied with our sound – we hadn’t learned how to work together. Eliminated all the synthesizers and effects pedals. The drummer couldn’t sync 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 back then.

My best friend Marty and I performed in bands together prior to Counting Crows. Marty’s dad, a flamenco musician, had succeeded in Spain and was back in the Bay Area performing a tour. Attended one of his performances and hung out with the flamenco troupe bar-hopping. The next morning, I went home and composed the song. It’s about our experience that evening, dreaming we were cool musicians so we could connect with the girls more confidently.

I believe, it’s among the finest pieces I’ve composed. We performed another track on Saturday Night Live in 1994, the record climbed dozens of positions each week for five or six weeks. Following that, Mr Jones turned into a huge hit.

The Multi-Instrumentalist Recalls His Perspective

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 new demo he’d created with the guitarist. He played me this track called the now-famous tune. Recorded with a Dr Rhythm pocket drum machine that resembled a arcade sound or popcorn popping, but his singing were on another level.

After the producer took over, it felt like a total reinvention of Counting Crows. The approach toward roots echoing folk and soul legends.

I got a call from Adam asking, “Hey, man, can you join us and contribute to this album?” When I arrived, the producer had moved us to a studio in LA’s Encino – formerly used by a Jackson 5 member. There were instruments that Dylan had just recorded on.

T Bone instructed me to play my guitar behind the tempo the beat. He said, “Playing too fast before the drums makes you sound like an adolescent rushing.” He has a southern accent, and his advice was to visualize putting your feet up on the console and chewing gum during the performance.

Counting Crows was, in some ways, a reaction to grunge. The tragic end of Cobain 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. Counting Crows blended folk and rock with a heavy dose of soulful vibes.

Mr Jones never gets old. Sometimes, when performing with Adam, I remember that moment when he played me the early version. Absolutely incredible.