The Creation of Mr Jones: The Way Counting Crows Developed Their Iconic Song

The Lead Singer Remembers the Beginnings

Our first four records were primarily produced in homes situated in the hills above Los Angeles. August and Everything After signified a significant step for the group, as it was their first release on a large record company. Each member received an advance of $3,000; I used mine to buy a 1971 cherry red VW Karmann Ghia and traveled to LA.

Every morning, my routine included by listening to Pickin’ Up the Pieces by Poco, which resembles the Beatles exploring country music. Also, I was into a jazz record that my father had acquired as a free giveaway at a gas station during my childhood.

The song Mr Jones was included on a demo that we sent to labels, but it proved a very difficult song to finish. We didn’t have a clear direction at first. Neither a slow ballad or a fast-paced rock song; instead, it moves with a rhythm, demanding a real feel to play. It’s soul music – more akin to the Stax Records sound than country.

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

We looked at several producers, but when I discussed things with the producer, he really get where the band was at. We had a lot of promise, but I wasn’t satisfied with our sound – we were still learning how to work together. Eliminated all the synths and guitar effects. The drummer couldn’t sync with the tempo, so T Bone called in Denny Fongheiser, one of Steve’s heroes, to lay down the drums. It’s a funny story, but it was hard on Steve at the time.

My best friend Marty and I had played in bands together prior to Counting Crows. Marty’s dad, David Serva, had made it in Spain and was back in the San Francisco area performing a series of shows. Attended one of his shows and hung out with the musicians bar-hopping. Next day, I returned and composed the song. The lyrics reflect me and Marty that night, dreaming we were accomplished artists so we could talk to the girls more confidently.

I believe, it’s among the finest songs I’ve composed. After playing another track on SNL in 1994, the album jumped dozens of positions weekly for five or six weeks. Afterwards, Mr Jones turned into a huge hit.

David Immerglück Shares His Memories

Back in the 80s, the band members were sharing a space in a warehouse complex in Berkeley. I had been playing with another band and had an side project called Monks of Doom.

One evening, I found Adam with a new demo he’d created with Bryson. I heard this track titled Mr Jones. It was done with a basic drum machine that resembled a arcade sound or popcorn popping, but his vocals were on another level.

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

Adam called me saying, “Listen, can you come down and contribute to this record?” By the time I got there, the producer had relocated us to a recording space in Encino, Los Angeles – previously used by Tito Jackson. There were guitars that Bob Dylan had just recorded on.

He told me to perform slightly behind the beat. He said, “If you rush before the drums makes you sound like an adolescent rushing.” He has a southern accent, and his advice was to imagine relaxing on the mixing board and staying casual while playing.

Counting Crows was, in some ways, a response to grunge. The tragic end of Cobain seemed the culmination. Back then, everyone used heroin. The aim was obliteration, not mind expansion. The nihilism had gone too far, and the pendulum swung toward something more human and sincere. Counting Crows blended folk and rock with a heavy dose of Van Morrison soul.

Mr Jones remains timeless. On stage, when I am rocking out with the singer, I remember that time when he played me the early version. Absolutely incredible.