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According to Aronoff, a certain little ditty was a pivotal moment in his career

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As a member of John Mellencamp's band from the early '80s through the mid-'90s, drummer Kenny Aronoff's swift, inventive playing style drove a string of radio-friendly hits such as Jack And Diane, Pink Houses, Hurts So Good and Crumblin' Down to the top of the charts.

Since leaving Mellencamp under less-than-amicable circumstances, the 57-year-old powerhouse, who started out playing rock but studied classical, jazz and fusion, only to walk away from a promising career as a symphony orchestra percussionist to, in his words, "follow my heart into the world of rock 'n' roll," has become one of the most in-demand sticksman around.

Just a casual glance at his resume boasts names like Bob Seger, Melissa Ethridge, Elton John, Santana, Mick Jagger, Avril Lavigne, Joe Cocker, The Smashing Pumpkins, Puddle Of Mudd, Jon Bon Jovi...You get the picture: the guy's got the goods.

"I don't know if there's any one reason why I get the calls," Aronoff explains. "Part of it is listening to the music and hearing what it needs. I think the biggest thing is having the patience and the discipline to serve the artist, to go on their journey. A lot of drummers just want to go in, play and collect the paycheck. I'm not like that. I need to make sure that whatever artist I'm working with is happy with the end result. To me, if you don't do that, you're not doing your job."

Obviously, John Fogerty feels as though Aronoff is earning his keep: since 1996, the legendary Rock And Roll Hall Of Famer has utilized Aronoff's talents both in the studio and on tour, an experience that Aronoff calls "immensely gratifying. John Fogerty is one of the true artists out there. To be a part of his creative process is what it's all about."

In the following interview with MusicRadar, Aronoff dissects the manner in which he helps to bring Fogerty's music to life. In addition, he talks about his intensely physical playing (and some of its drawbacks, like constant nose bashing), how he's changed his kit around in recent years, his complicated relationship with John Mellencamp and the song that made it all possible. (Hint: it's a little ditty about two America kids growing up in the heartland.)

I think the burning question in everybody's mind right now is, are you bucking for the gig as the drummer in Rick K And The Allnighters?

[laughs uproariously] "Oh my God! The Drummer At The Wrong Gig guy? Oh man, he's wild, isn't he? So many people have sent me that clip. The first time I saw it, I was dying laughing. It's incredible.

"The second or third time I watched it, though, I thought, Waaaaait a minute. This guy's too good. I thought it was staged - you know, like they made a video clip to get attention or something. But I guess it's the way he really plays. I mean, the stuff he does - flailing his arms over his head and all the Buddy Rich-type hi-hat fills he throws in - it's just unreal. The man is brilliant. He's a superstar. He's going to be on the cover of drum magazines. What a player!"

Well, let's get into your playing. Now, you've enjoyed a very long and fruitful association with John Fogerty. I think you've played with him now longer than Doug Clifford from Creedence ever did.

"Yeah, I guess so. I started playing with John in '96. He had gone through 30 drummers till he got to me. And I just found out that his brother Bob suggested me after the second drummer. I think the first drummer was Chris Layton and the second was Jeff Porcaro."

So John went through all these great drummers, but they just weren't the right fit?

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