The Story of Mr Jones: The Way Counting Crows Developed Their Defining Anthem

The Lead Singer Remembers the Beginnings

The initial four records were mostly recorded in houses situated in the hills above Los Angeles. Their debut major label album marked a significant milestone for the band, as it was their inaugural release on a major label. Each member received an upfront payment of $3,000; I used mine to purchase a classic red convertible and drove it to LA.

Every morning, my routine included by playing a Poco track, which resembles the Beatles venturing into 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.

The song Mr Jones was included on a demo tape that we sent to labels, but it proved a challenging song to complete. It lacked a solid grasp at first. It’s not a slow ballad or a straight ahead rock song; instead, it moves with a rhythm, demanding a deep understanding to perform. The style is soulful – closer to the Memphis soul sound than country.

Our drummer struggled to grasp the song as the rest of us did – so T Bone brought in one of his heroes to play it.

We considered several producers, but when I discussed things with the producer, he seemed to get where the group was headed. We had great potential, but I didn’t like with our sound – we hadn’t learned how to be a band. We removed all the synthesizers and effects pedals. The drummer had trouble with the tempo, so T Bone invited a renowned drummer, one of Steve’s favorites, to lay down the drums. It’s a funny story, but it was tough on Steve back then.

My best friend Marty and I had played in groups together prior to Counting Crows. His father, a flamenco musician, had succeeded in Spain and was back in the Bay Area performing a series of shows. Attended one of his performances and hung out with the musicians visiting bars. Next day, I returned and wrote the song. The lyrics reflect me and Marty that night, dreaming we were cool musicians so we could connect with the girls more easily.

I believe, it’s one of the best songs I’ve composed. After playing another track on SNL in 1994, the record jumped dozens of positions each week for five or six weeks. Following that, Mr Jones became a major success.

David Immerglück Recalls His Perspective

In the late 1980s, Adam, David Bryson, and I were sharing a space in a industrial building in Berkeley. I had been playing with another band and had an side project called Monks of Doom.

Returning home one night, Adam had a fresh recording he’d created with the guitarist. I heard this song called the now-famous tune. Recorded with a basic drum machine that sounded like a arcade sound or random noise, but his vocals were exceptional.

Once T Bone took over, it felt like a complete transformation of Counting Crows. They shifted toward roots influenced by folk and soul legends.

Adam called me saying, “Listen, can you join us and contribute to this record?” By the time I arrived, the producer had relocated us to a recording space in LA’s Encino – previously used by a Jackson 5 member. Inside, we found guitars that Bob Dylan had just recorded on.

T Bone instructed me to perform slightly behind the drums. He said, “If you rush before the drums makes you sound like an teenager rushing.” He has a southern accent, and his guidance was to visualize putting your feet up on the console and staying casual while playing.

Counting Crows was, to an extent, a response to the grunge movement. The tragic end of Cobain felt like the culmination. At the time, many were on heroin. The goal was self-destruction, not enlightenment. That negativity had reached an extreme, and the trend shifted toward something emotional and sincere. Counting Crows blended folk and rock with a strong influence of soulful vibes.

Mr Jones remains timeless. On stage, when performing with Adam, I recall that moment when he first shared the early version. It’s insane.