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Here are our top three: 

“Come Together” – The Beatles 

“We Will Rock You” – Queen

“Rosanna” – Toto

The songs with the best drum parts 

 1. “Come Together” – The Beatles

We probably all have a different take on what makes a drum part the “best,” but recognisability and influence are a strong starting point. Ringo Starr’s part in “Come Together” covers all three. It’s not flashy or fast, but the left-hand-led tom groove has become iconic. He matches the vocal line with the bass drum, plays the hi-hats like a bassline, and adds just enough tom work to make the part sing. 

The verses are kept simple with floor tom and kick, but it’s how Ringo plays it that makes it unforgettable. His creative choices are a big part of why the Beatles’ rhythm section remains so distinctive. 

2. “We Will Rock You” – Queen

Sticking with recognisability, few drum parts are as instantly recognisable as the stomp stomp clap of “We Will Rock You.” Roger Taylor’s simple floor tom and snare groove is the heartbeat of the track and the only instrumental feature for most of the song. 

It’s a masterclass in minimalism. Played in 4/4 time, the eighth-note stomps followed by a single clap (or snare hit) is something we’ve all joined in with, which was entirely the point. This rhythm wasn’t just for drummers; it was written for the crowd. 

In fact, I’d even call this the drum song. It’s built entirely around the drum part, and it’s probably the only track most people recognise first and foremost for its groove before lyrics or melody even come into it. There’s no flashiness here, just a rhythm that does exactly what it needs to. It’s a brilliant entry point for beginners and a timeless example of how feel can trump complexity. 

3. “Rosanna” – Toto  

If there’s one groove that continues to challenge and inspire drummers, it’s the “Rosanna” shuffle. Played by Jeff Porcaro, this half-time shuffle is famously tricky, combining a triplet feel with ghost notes and a heavy backbeat that demands finesse and control. 

You can hear the influence of Bernard Purdie’s shuffle in the feel, but Porcaro made it his own. The hi-hat work is delicate yet precise, while the snare’s ghost notes add depth without ever dominating the mix.

4. “In the Air Tonight” – Phil Collins 

This might be a controversial take, but I think the fill in “In the Air Tonight” is the greatest drum fill of all time. There’s just nothing else quite like it, and really, is there a more recognisable fill? I don’t think so. 

In this song, Phil Collins holds off on any live drums for over three minutes, letting tension build through synths and vocals alone. Then, that fill lands. It’s simple and powerful, and it locks into a steady kick snare groove that carries the track to the end. 

It’s not a drum-heavy song, but that creative decision to hold back makes the moment hit even harder. It’s a defining moment in drum history. 

5. “When the Levee Breaks” – Led Zeppelin 

You can’t talk about great drum parts without bringing up John Bonham. His playing on “When the Levee Breaks” is a landmark moment in rock drumming: heavy, spacious and unmistakably powerful. The groove is slow and swampy, but the tone is what really grabs you. Bonham’s kit was recorded in a stairwell at Headley Grange using just two ribbon mics, creating that cavernous, echo-laden sound. 

It’s one of the most iconic drum recordings ever captured. And it’s not even complicated. It’s restrained and flawless.  

6. “Wipe Out” – The Surfaris

If there’s one word to describe “Wipe Out,” it’s “frantic”, in the best way possible. The track is carried by Ron Wilson’s tom-led groove, with fast-paced 16th-note rolls and crisp accents that create a relentless and driving energy. 

Each solo section moves between a tom pattern and a crash-led groove, keeping the momentum high without ever sounding repetitive. 

Wilson drew from high school marching cadences to create something that felt structured yet wild. For many drummers, this was the first solo-driven song they heard, and even today, it remains a rite of passage. 

7. “50 Ways to Leave Your Lover” – Paul Simon 

There are plenty of standout Steve Gadd moments, but for me and many others, “50 Ways to Leave Your Lover” is his best. The intro groove is simply unforgettable, subtle, precise, and completely unique. 

It has a linear, almost militaristic feel, but without a traditional backbeat. The foot-closed hi-hat clicks and ghosted snare touches require an incredible amount of control and musicality. 

Amazingly, the verse groove came out of a quick jam between takes in the studio. Gadd came up with one of the most iconic drum parts of all time through an off-the-cuff idea. 

If “We Will Rock You” is a masterclass in minimalism, this is one in dynamics and space. For drummers, this is one of those parts you remember forever. 

8. “Message in a Bottle” – The Police   

I’ve always been a huge fan of The Police, and Stewart Copeland remains one of my favourite drummers. Of all his standout parts, “Message in a Bottle” is the one I keep coming back to. 

It’s full of his trademarks: sharp hi-hat patterns, punchy flams, and tom grooves that blend punk and reggae with total confidence. He recorded this using a Tama Imperialstar kit and a Pearl Jupiter snare, but the closest sound today comes from his own TAMA Stewart Copeland Signature Snare. Fans of his will love it. 

More recently, he’s actually said that he might have overplayed the outro, but I think it’s spot on. The drums carry the energy of the track, and honestly, I’d happily listen to just them. 

9. “Fool in the Rain” – Led Zeppelin 

I know we’ve already included a Zeppelin track, but “Fool in the Rain” deserves its place. It has inspired a generation of shuffles, including the “Rosanna” groove, and shows just how versatile John Bonham really was. 

The swung feel, accented shuffle and ghosted hi-hat strokes are textbook Bonham. But the real surprise is the bridge. Out of nowhere, he shifts into a samba groove, complete with intricate footwork and Latin-style phrasing on the snare and ride. 

Then, just as smoothly, he moves back into the shuffle. It’s one of the most musical transitions you will ever hear. For me, this is peak Zeppelin, a drummer’s dream track and hands down my favourite of theirs. 

10. “Back in Black” – AC/DC

It might be one of the easiest songs to play, but that’s exactly what makes it so brilliant. “Back in Black” is the benchmark for beginners, built around a no-nonsense 4/4 groove that just works. 

Phil Rudd keeps things simple, with a punchy kick, solid snare and minimal fills that follow the melody. His job was not to show off; it was to support the band, especially Angus, and he nailed it. 

This groove proves that you do not need complexity to sound great. Anything more would have taken away from the track’s energy. Rudd’s feel is the heartbeat of “Back in Black,” and that is what makes it great. 

11. “Hot for the Teacher” – Van Halen   

“Hot for Teacher” is one of those songs that proves just how crucial the drums are to a track’s identity. Alex Van Halen’s intro is jaw-dropping, with a high-speed, four-on-the-floor bass drum shuffle layered with Simmons pads to mimic a roaring engine. 

The opening groove features syncopated hertas and 260 bpm sixteenth-note tom runs that sound like a machine powering into gear. The studio version likely involved overdubs, but the feel remains relentless and precise. 

Every element is challenging, not just the drums. It feels like Alex and Eddie were pushing each other to the limit. That explosive energy makes this a landmark drum track, technically demanding, full of character, and still setting standards decades later. 

12. “Tom Sawyer” – Rush  

Rush has always delivered music that makes you listen closely, and “Tom Sawyer” is no exception. Neil Peart’s drumming here teams precision with complexity. There is so much going on, it’s hard to believe it’s one player.

From the tight, spaced-out intro to the middle section in 7, and even a brief jump into 13/16, every moment demands focus and accuracy. And then there’s that fill, the one that seals the deal for most drummers. Hit it even slightly out of time, and everyone notices. For me, this track proves why Peart is considered one of the best to ever sit behind a kit. 

13. “Funky Drummer” – James Brown

Clyde Stubblefield’s performance on “Funky Drummer” is one of the most influential in music history. His right hand keeps a flowing hi-hat line going for over nine minutes at 101 bpm, with flawless control and feel. 

The famous breakbeat, improvised mid-session in 1969, has since become one of the most sampled drum grooves ever recorded. And rightly so. Stubblefield’s syncopated kick patterns, ghost notes, and jazzy snare work turn a short fill into a groove that has carried generations of drummers and producers. 

It’s funk drumming at its purest. 

14. “Sunday Bloody Sunday” – U2  

We often take “Sunday Bloody Sunday” for granted now, but think back to the first time you heard that drum intro. It’s unforgettable. Larry Mullen Jr. sets the tone with a militaristic snare march, recorded with natural stairwell reverb to give it power and space. 

That 16th-note snare rhythm is tight and absolutely central to the track. Combined with a steady kick and that haunting electric violin, the drums deliver the song’s emotional weight. 

It might not be technically extreme, but it’s a perfect example of drums telling a story. Mullen created something raw and human, supporting the message with conviction and restraint. 

15. “Superstition” – Stevie Wonder   

Like many people, “Superstition” was my first proper introduction to Stevie Wonder, and I still think I could recognise the song just from that snare tone. While Stevie is credited with the drumming on the final track, the groove itself came from Jeff Beck, who was jamming on Cozy Powell’s kit when inspiration struck. 

The groove is all about feel. A swinging hi-hat, tight ghost notes, and a fat snare sound create that unmistakable funk shuffle. There is barely any room ambience, just close, punchy tones that hold everything together. 

Wonder’s playing is not mechanical. It flows with the music, giving the drums a melodic voice. This track proves how groove and simplicity can completely define a song. 

16. “Song for the Dead” – Queens of the Stone Age

If you’re not familiar with “Song for the Dead,” you’re missing out. With Dave Grohl behind the kit, the drums are front and centre: aggressive and relentless. 

It opens with a chaotic solo, full of tightly controlled triplets and single strokes, moving smoothly between toms and snare while the kick anchors every phrase. The outro is just as intense, demanding real stamina with a 216 bpm roll that never lets up. 

Grohl’s sound here is deep and punchy. He uses his go-to Zildjian A cymbals and larger, deep shells, which gives this song that recognisable bite. It’s all energy and instinct, not showy, just pure force. A modern drumming classic that is as fun to play as it is to hear. 

17. “Go Your Own Way” – Fleetwood Mac  

Mick Fleetwood might not always top the list of flashy drummers, but he should be in any conversation about greats. His performance on “Go Your Own Way” is iconic.

Fleetwood drives the verses with tom-heavy patterns and distinctive flams, creating urgency that builds perfectly into a more stripped-back, steady groove for the chorus. He rarely repeats a fill but always stays locked into the beat. 

It’s that sense of control and emotion that defines his playing. Every accent and pause is deliberate. The drums don’t just support the track; they make it. Fleetwood’s instinctive and idiosyncratic style holds everything together with power and precision. 

18. “Toad” – Cream  

You cannot write a list of the best drum songs without including Ginger Baker and “Toad.” This song is essentially a love letter to the drum solo and to Baker’s genius. While Cream had a solid catalogue of blues rock anthems, “Toad” was something else. 

It’s practically a five-minute drum solo with a bit of guitar sprinkled in. And if you’ve heard the live versions, like the 13-minute one from Royal Albert Hall, you know Baker took it even further. It’s raw, tribal and explosive, blending African rhythms, jazz licks, and rock attitude into something untouchable. The use of double kick drums and tom-heavy phrasing was ahead of its time.

“Toad” didn’t just feature drums. It was drums. 

19. “One” – Metallica

Metallica’s “One” is iconic for many reasons, but Lars Ulrich’s drumming is what really drives the emotional arc of the track. It starts off slow and methodical, mirroring the despair in the lyrics, before building to an all-out assault of double kick chaos. 

The drumming perfectly matches the story of a soldier trapped in his body, progressing from quiet to violent and relentless. Ulrich’s use of double kick sextuplets, tom accents, and machine gun snare fills helped define metal drumming in the late 1980s. 

He might not be the most technical player out there, but Lars nailed the feel, and “One” proves just how musical and powerful great drumming can be. The double bass section is now one of the most recognisable in metal history. 

20. “American Idiot” – Green Day 

Green Day have led the punk scene for decades, and “American Idiot” is probably their most recognisable song. Let’s be honest, it’s Tré Cool’s drumming that carries it. His right hand is relentless, fast, tight and driving the song forward with a slushy eighth-note hi-hat groove and syncopated bass drum patterns. 

The tom breaks after each chorus, and the bridge is especially memorable. You can hear them in isolation and immediately know the song. It’s a high-energy, no-fluff performance that still manages clever dynamics. Cool avoids flashy fills in favour of raw punk power. His drums blend chaos with control and perfectly support the band’s message. It’s modern punk rock drumming at its finest. 

21. “Killing in the Name” – Rage Against the Machine  

This track takes me right back to college jam sessions. It’s not the most technical drum song, but it’s undeniably iconic. Brad Wilk’s funky yet brutal groove builds tension before exploding into a thrashy bridge. His ability to drop from a booming beat into a minimal hi-hat groove is masterful. 

That push-pull dynamic, playing slightly behind the beat, gives the track its heavy, thumping feel. The tom rolls and crashing fills during the breakdown fuel the song’s raw rage. Wilk’s style supports the song’s political fire, written in response to the Rodney King beating. 

Simple yet explosive, the drumming drives this protest anthem with precision and power, proving that drums do not need flash to be unforgettable. 

FAQs 

What song has the best drumming? 

One of the most celebrated songs for drumming is “In the Air Tonight” by Phil Collins, famed especially for its dramatic and powerful drum fill toward the end, which is widely cited as a legendary drumming moment. Other tracks often highlighted for top-tier drums include Toto’s “Rosanna,” Led Zeppelin’s “When the Levee Breaks,” Rush’s “Tom Sawyer”, and Red Hot Chilli Peppers’ “Give It Away.” 

What is the hardest drum song ever? 

“Tom Sawyer” by Rush is frequently named among the hardest songs to play on drums due to its complex time signatures, rapid fills, and technical precision, making it a benchmark of drumming challenge. Other famously difficult drum parts include Meshuggah’s “Bleed,” Dream Theatre’s “The Dance of Eternity”, and Frank Zappa’s “The Black Page No. 1.” 

What is the most recognisable drum beat? 

The most instantly recognisable drum beat is arguably the stomp stomp clap pattern in “We Will Rock You” by Queen, a rhythm so iconic that audiences around the world clap it live. 

Final thoughts  

Ultimately, the songs with the best drums are the ones that serve the song first and foremost. Some of the drummers featured here are known for their technical mastery, while others are celebrated for their feel and ability to stay locked in the pocket.