Kenny Aronoff, the powerhouse drummer, is renowned for his iconic work with John Mellencamp, and perhaps no track is more emblematic of their collaboration than “Jack & Diane.” Featured in the documentary Hired Gun, Aronoff himself recounts the fascinating journey of creating the drum part for this timeless hit song, revealing the challenges and creative breakthroughs that shaped its unforgettable sound.
In the early stages of crafting a John Cougar Mellencamp song, the process was fairly consistent. Mellencamp would bring a nascent song idea to the rehearsal room, presenting it either on acoustic guitar or via a simple cassette recording. For Kenny Aronoff, the crucial task was to then develop a drum beat that was not only simple and effective but also possessed a unique quality that would elevate the song. His goal was to create drum parts that were hooks in themselves, driving the song’s energy and making it irresistible to radio listeners, ultimately aiming for that coveted number-one hit.
The challenge was always to transform these initial song sketches into fully realized arrangements that would capture the audience’s attention and ensure repeated listens. When “Jack & Diane” was first introduced, the band recognized its potential. It had a catchy melody and relatable lyrics, but the initial arrangement felt somewhat ordinary. Mellencamp, with his keen ear for detail, sensed that the song needed something more to truly stand out.
Aronoff’s first instinct was to lay down a straightforward beat, typical for the era: accented eighth notes on the hi-hat, a cross-stick snare on beats two and four (which later evolved into a solid backbeat), and a standard bass drum pattern. While this initial groove worked well for the intro, verse, and chorus, it lacked the dynamic range needed to sustain interest throughout the entire song. The band knew that to make “Jack & Diane” truly special, they had to explore new sonic territories and develop innovative parts.
Kenny Aronoff discussing the creation of the drum track for "Jack & Diane"
The band’s recording sessions for the American Fool album took place at Criteria Studios in Miami. Intriguingly, the Bee Gees were working in the adjacent studio, experimenting with the then-novel sounds of programmed drum machines. One day, producer Don Gehman brought a Linn 1 drum machine into their recording room, the very instrument the Bee Gees were exploring. Aronoff’s initial reaction was apprehension; he was wary of drum machines replacing the organic feel of real drums. However, Mellencamp’s priority was clear: to make a hit song, and he was open to experimentation.
Aronoff, ever the professional, immediately took charge of the Linn 1. He quickly learned its operation manual and began programming the beat he had been playing on his acoustic kit. He ingeniously used the Linn 1’s floor tom sound to emulate his kick drum and its tambourine sound in place of his hi-hat. Handclaps were programmed to replace the snare backbeats. Crucially, each sound from the Linn 1 was routed to a separate track on the 24-track tape, providing maximum flexibility in the mix.
After programming the drum machine parts, Aronoff took a break, only to be summoned back by Mellencamp with a surprising request: a drum solo after the second chorus. A drum solo in a ballad seemed unconventional, even paradoxical. Aronoff questioned how to make it work, but he embraced the challenge.
The quest for the perfect drum sound became a day-long endeavor. Contrary to the common practice of using small rooms for a controlled drum sound, Mellencamp wanted a massive, expansive drum sound, inspired by Phil Collins’ groundbreaking work on “In the Air Tonight.” This was a departure from typical radio song production at the time, adding to the innovative spirit of the recording.
When the moment arrived for his drum solo entrance, Aronoff opted for simplicity and impact. He started with a powerful “&” 4 beat on the kick and snare. The control room responded positively, but Mellencamp remained unconvinced. During a playback and discussion, suggestions from various people in the control room only added to the confusion. Walking back to his drum kit, Aronoff felt the pressure. He knew that if he didn’t come up with something compelling, Mellencamp might seek another drummer.
In that brief walk back to his kit, inspiration struck. He conceived the idea of playing the same rhythmic pattern but starting it an eighth note later. Instead of commencing on beat 1, he began on the “&” of 1. Furthermore, deviating from the typical descending tom fills, he ascended up the toms. As he finished this ascending tom passage, Mellencamp, finally satisfied, yelled into Aronoff’s headphones, “Hit a cymbal crash!” Aronoff responded instantly with the crash and then transitioned into a descending Phil Collins-esque tom fill. Concluding his spontaneous solo, he introduced a quarter-note triplet on snare, rack tom, and floor tom. This unexpected, creative drum interlude was a hit with Mellencamp.
Returning to the song’s main groove, Aronoff infused it with even more power, driving the rhythm with sixteenth notes on the hi-hat. On beat four of each bar, he created a signature “explosion” by hitting the snare and floor tom simultaneously, an idea inspired by Steve Gadd’s Mozambique beat. The decision to maintain the hi-hat throughout this powerful section was debated, but Aronoff ultimately settled on a dynamic approach, playing sixteenth notes on beats three, “e,” “&,” and “ah,” building from soft to loud, creating a surge of energy into the beat four snare and floor tom hit. Adding another layer to the song’s evolution, Mick Ronson, David Bowie’s former guitarist who was present in the studio, suggested that the chorus be sung a cappella over Aronoff’s compelling drum groove.
“Jack & Diane” not only reached number one on the charts but propelled the American Fool album to the top as well. Decades later, the song remains a radio staple. For Kenny Aronoff, “Jack & Diane” was more than just a hit song; it was a career-defining moment, his “big break.” The album’s success, marked by multi-platinum sales and two Grammy Awards, cemented the song’s place in music history and Aronoff’s legacy as a drumming innovator.
