100 Best Drummers of All Time

Here’s a talented drummer that makes Deep Purple... Deep Purple. Technical, well skilled, and extremely tasteful. He’s a joy to listen to and watch. — David Lovering (Pixies)

Ian is hands down the best rock drummer I’ve ever seen play live! His name could and should be said in the same breath as John Bonham and Keith Moon! — Dale Crover (The Melvins)

Chris was very inspiring to me early on as Lamb of God was the second concert I had ever been to. I’ll never forget the distinct sound and pattern of his kick drums. So memorable, so slappy, so groovy. He was the first drummer that ever got me thinking about “tone." The feel he brought to all those iconic Lamb of God riffs just remains in my mind forever. — Jeris Johnson (Solo Artist)

When The Go-Go's sang about how they got the beat, you believed them, and it was all thanks to Gina Schock's driving drum work. So many classic Go-Go's songs begin with the drums coming in as either the first or second instrument, setting the tone for the band's signature explosive pop-rock. Schock, along with her bandmates, was inducted into the Rock and Roll Hall of Fame in 2021. While that achievement also marked the end of The Go-Go's, Shock continues to rock out with her band House of Schock. (Editor's Note: She also rocked our Drum Week Roundtable discussion with Janet Weiss and Stella Mozgawa.) — Liz Shannon Miller

I’ve naturally adopted so much of my playing from Taylor. Never have I ever tried to replicate any one drummer’s style; I always aim to create what feels natural to me. However, I’m fully aware that Taylor has a massive impact on my style subconsciously. Don’t get it twisted… I cannot sniff the talent he has. But I certainly think like him creatively, because he raised me. His precision is unmatched and he is a bell magnet. The great drummers truly have a way of speaking through their playing. There is no one who will ever speak to me more than Taylor. He is, and will forever be, my number one favorite drummer of all time, my biggest influence and inspiration. — Jeff Kummer (The Early November)

The Soft Machine — Volume 1 remains one of my all-time favorite albums. His fearless approach to drumming and production — playing around with effects and panning — blew my little mind. On top of that, being the lead singer? That's just the icing on the cake. — Gabe Camarano (GIFT)

An incredibly musical punk rock drummer. That’s no small feat. The way he propelled The Clash was spot on.— Lee Wall (Luna)

As a member of The Clash, Topper Headon was much more than just a punk stickman. The band's wide-ranging styles on albums like London Calling and Sandinista! required Headon to also master ska, dub, reggae, new wave, and experimental rock, and he proved to be a vital component of the legendary band's evolving sound. — Spencer Kaufman

As a budding, underage drummer in Australia, Stella Mozgawa would pretend to be a 20-year-old Polish immigrant who didn't have proper identification so she could play at Sydney venues. Such passion and work ethic would go on to define her successful, prolific career, from her time in Warpaint to her collaborations with artists like Kurt Vile, Cate Le Bon, St. Vincent, Kim Gordon, and more. There's a reason so many indie artists come knocking at her door — she's an absolute killer. — Jonah Krueger

The most famed jam percussionist since Bill Kreutzmann is also the reason Phish is called Fish Phish. In a band full of great instrumentalists, he might be the best, with the masterful sense of volume you only find in artists who have played in every kind of venue imaginable. But his most impressive skill might be his listening, as so often before the crowd loses their mind at a Trey Anastasio solo, Fish uses his drum kit to get their attention and tell them to sit up straight. — Wren Graves

When it comes to The Velvet Underground, most think of Lou Reed's songwriting, John Cale's experiments, or Nico's vocal contributions. Just as integral to their magic, however, is the drumming of Maureen "Moe" Tucker, who managed to excel both at the legendary band's wildest freakouts and softest, most tender moments. Whether it's "Candy Says" or "Sister Ray," Moe's got you covered with her creative, adaptive, skillful parts. — J. Krueger

I remember the first time I watched Matt Halpern play and being blown away. The guy is so firmly in his own lane with his drumming. I can recognize his sound from a mile away, and it is a huge part of Periphery’s sound. — Chris Lalic (Windwaker)

A really unique feel and super heavy because of the space between the hits. Very influential on me as a teenager. I often think of her when doing certain kick and cymbal hits together. — Jay Watson (GUM)

The White Stripes weren't all about Jack White's howling, ripping guitars, even if that's where the conversation tends to go in certain circles. The fact is, Meg White's minimalistic style was the perfect counter to Jack's shredding, a primal dynamic that gave their tunes that definitive garage stomp. Jack provided the flash, Meg provided the feel. — Ben Kaye

It’s a drum clinic every time I’ve watched Clem play. The opening on “Dreaming” says it all. Machine gun fills through the whole song! I copied the way he hit the crash with his left hand at the end of a drum fill — only to find out that, like Ringo and Lombardo, he’s left handed! — Dale Crover (The Melvins)

He was so far ahead of his time in so many ways, not only in drumming, but business. Playing songs like “Fight Fire with Fire” in '84, “Battery” in '86, and “Blackened” in '88, there's no denying his drumming talent. Playing what's needed for the song, not himself, and not overplaying. His song arrangement and his business acumen are also what sets him apart from many of his peers. I don't think there are as many drummers out there that have influenced as many people to start playing drums as Lars has — and I'm absolutely one of them! — Josh Villalta (Nita Strauss)

Growing up, I would look up any and all drum videos I could find to watch back when the internet was much younger (way before YouTube). I discovered Tony way back then, and ever since then, his ability behind the kit continues to break new ground on what I thought was even possible. The chops, the feel, all of it. — Ben Anderson (Nothing More)

Terri Lyne Carrington has had a wildly eclectic career, from repeatedly touring with Herbie Hancock to serving as the house drummer for The Arsenio Hall Show to being honored by the National Endowment for the Arts for a lifetime of contributions to jazz. On her 2011 Grammy-winning release, The Mosaic Project, the jazz artist's drum work truly leads the original compositions, while still remaining in perfect sync with the other performers. — L.S. Miller

People don’t call him Papa for nothing. Even amongst the jazz legends, Papa Joe Jones is revered for his multifaceted playing style. Whether playing with Count Basie or stepping into one of his countless other swing bands, Papa Joe Jones may well have been your favorite drummer’s favorite drummer. — Rachel Rosenfield

I feel like Louis Cole doesn’t get enough love as a drummer, because he’s such a well-rounded musician in general, but Louis does things I haven’t seen anyone do to his level on the drums. He has such a unique style and sound, and everything he plays makes your jaw drop. His fundamentals are excellent, and then his ability to build and build and build on top of the foundation is crazy. He should definitely go down as one of the best ever. — Matt Halpern (Periphery)

The first drummer I fell absolutely in love with when I was a kid. I even asked my parents for his first instructional VHS for Christmas when it came out :-). — Matt Yonker (Less Than Jake)

Kenny Aronoff studied classical music, jazz, and fusion, and ended up as the go-to stickman for two of America's greatest rockers: John Fogerty and John Mellencamp. His versatility has also made him a hired gun for acts ranging from The Smashing Pumpkins to Willie Nelson. — S. Kaufman

Igor is such an innovator! Growing up in New Orleans and going to Mardi Gras parades, in between floats they would have the local school marching bands jamming and it always reminded me of a cool tribal vibe. When I heard Chaos A.D. and listened to “Territory," it just blew me away! It felt like these two worlds I loved collided: metal and tribal. He has such a cool groove and some awesome beats that go over bad ass riffs! — Josh Villalta (Nita Strauss)

My theory is that Brian Blade is a highly sensitive person, which tends to make a person both extremely kind and mild-mannered, but also explosive on the drums. He stands for the rights of people who are told they "overreact" to everything, because his overreactions to everything — including Wayne Shorter — are exactly what make him so wonderful. — Greg Saunier (Deerhoof)

Jim Keltner emerged as a go-to session drummer in the late ’60s and early ’70s after notching credits for recordings by Gabor Szabo, Leon Russell, and Joe Cocker. Undoubtedly, he will best be remembered for working with three members of The Beatles during their solo careers: George Harrison (The Concert for Bangladesh), John Lennon (Imagine), and Ringo Starr (as a touring member of Ringo’s All-Starr Band). — Jon Hadusek

When it comes to influencing my style, Chad Smith is right there next to Taylor Hawkins. His touch, perfect ghost notes… the man lives inside what drummers call “The Pocket.” What sets him apart is his natural ability to elevate a song with feeling. When Chad plays, the world bobs its head. — Jeff Kummer (The Early November)

I couldn't believe my ears when I discovered Meshuggah. I was record shopping and stumbled upon Destroy, Erase, Improve around 1997 and was completely blown away. I'm a huge Jazz Fusion fan so hearing Tomas's unique blend of fusion with metal won me over instantly. Listen to their first LP, Contradictions Collapse, from 1991 and you'll see what I mean — light years ahead of their time. — David McGraw (Cattle Decapitation)

Mark Guiliana knows no bounds. The New Jersey native has made quite the name for himself over the last two decades for his versatility, technical prowess, and awe-striking creativity. He's a jazz cat, of course, but he refuses to align himself with just one genre or style of playing. Perhaps his greatest contribution yet arrived with BLACKSTAR, David Bowie's astounding final bow, but his bewildering work is noticeable in each of his collaborations; for example, Guiliana absolutely tears through the drum part for “Public Grieving,” the concluding track on The Armed's 2023 album Perfect Saviors. — P. Ragusa

Phil Rudd clearly operates for the song and not his personal ego. That being said, the way he makes basic beat after basic beat move as if it’s the most inspiring thing in the world to him, for me, that is one of the greatest acts of discipline I've ever witnessed. — Kellii Scott (Failure)

Super underrated drummer, really groovy but almost Motorik like in his feel. Occasionally I get drunk and rant about AC/DC being the Kraftwerk of rock. — Jay Watson (GUM)

Pick an iconic singer-songwriter or folk song from the '60s and '70s, and there's even money you'll find Russ Kunkel on the drums. Carole King's "It's Too late," Jackson Browne's "Running on Empty," Neil Young's "Heart of Gold" — all Kunkel. His impeccable timing led to a reputation as one of the era's greatest session drummers, best exemplified on James Taylor's "Fire and Rain," where Kunkel drives and retreats at preciously the right moments to push the lovely tune along. — B. Kaye

Fearless and explosive, respects the music, but also zero fucks given. He's incredibly expressionistic. — Patrick Wilson (Weezer)

Coolest loose feel of all time. Unexplainably grooving. Also plays such weird loose ideas that feel so good. — Louis Cole (Knower, solo artist)

Carmine Appice is a journeyman rock drummer in the purest sense, from his early days with Vanilla Fudge and Cactus, to his projects and recordings with rock legends such as Jeff Beck and Rod Stewart. The older brother of Vinnie Appice, another stalwart percusionist, Carmine would diversify his portfolio over the years, working with Pink Floyd, hard rock acts King Kobra and Blue Murder, and Sly Stone during the 1980s and beyond. — J. Hadusek

Iron Maiden is the greatest heavy metal band ever and both of their drummers were equally inspiring and talented players. Nicko has an amazing right foot, even to the point where some of his patterns could be mistaken for two bass drums. He has a very recognizable playing style and he is also a master of the "huge" drum kit!! — Jason Bittner (Shadows Fall, Category 7, Overkill)

Jazz drummer Mel Lewis has the particular distinction of being renowned for his cymbal work. Notably, Mel would make the switch from industry standard Zildjian cymbals to the Turkish-made brand Istanbul to further distinguish his style. His name appears across many releases in the Blue Note, Atlantic, and Solid State jazz catalogs, among others. — J. Hadusek

Deftones have always been a favorite band of mine and Abe's tasteful drum parts always resonated with me. I've probably played along with their records more than any other and it's always so much fun to play Abe's parts. — TJ Orscher (Bear Hands)

Abe's ability to maintain a powerful groove at slow tempos is remarkable. He hits hard, but still holds back perfectly. —Christopher Wallerstedt (Orbit Culture)

Total badass. Viola Smith was labeled “The Fastest Girl Drummer” in the 1930s and '40s. Known for her big band/orchestra stylings, she started performing at the age of 10 and played up into her 100s (!). I personally feel she’s a part of American drum history. Total show stopper, the world hasn’t seen anything like her since. Check out her drum solo in “Snake Charmer” to get an idea. — Jon Syverson (Daughters, Unsane)

The deepest swing, intentional but free. Unlike Jack DeJohnette, he was more impressionistic. — Patrick Wilson (Weezer)

Peter Erskine is not just one of the greats behind the kit, but one of the greatest and most inspiring educators in the drum community. Modern Drummer is keen on sharing Peter Erskine’s words of wisdom each month for a reason — Erskine continues to dedicate himself to his craft, fostering new collaborations and focusing on educating the next generation of percustionists around the world. — P. Ragusa

Travis Barker has a creativity to create a signature sound and represent himself by specific beats that anyone might play and say, “That’s a Travis beat." And there's his overall creativity behind the kit, using different parts of drums the typical drummer wouldn’t think of incorporating with a style most would stay more straight forward on. His aesthetic is to create such a visual representation behind the kit as a drummer and bring the back of the stage to the front spotlight and to take it to new heights. — Maty Madiro (From Ashes to New)

After a stint as a member of the original Muscle Shoals Rhythm Section, Jerry Carrigan would make his name as a session man over a prolific three-year career in Nashville as part of the legendary Nashville A-Team. His deep snare and steady playing would provide the backbone for the “Countrypolitan” style that would emerge in the ’60s and ’70s, with credits on records by Elvis Presley, Dolly Parton, Willie Nelson, and many more. — J. Hadusek

At only the age of 15, Louie Bellson asked a question that would change jazz music forever: What if one bass drum just isn't enough? After pioneering the technique of playing two bass drums at the same time, Bellson became ingrained with the most influential big bands of the '40s, including those around Tommy Dorsey, Benny Goodman, Harry James, and Duke Ellington. Consistently blending genres in his work, Bellson also wrote a Broadway musical, Portofino. — Mary Siroky

From the mid '60s up until his death in 1975, Al Jackson Jr.'s work was ubiquitous. They called him "The Human Timekeeper," but it wasn't just his command of tempo that made his contributions so sublime. Working with some of the greatest vocalists in history in Otis Redding, Aretha Franklin, and Al Green, Jackson Jr. knew exactly what these singers needed to shine the brightest, whether that's the patient trot of "(Sittin' On) The Dock of the Bay" or the nuanced beat behind "Let's Stay Together." — P. Ragusa

He’s the type of drummer that can play with so many different bands, and still put his own flavor on it. He has such a unique flow and style in every genre that he plays. — Nate Young (Anberlin)

The first time I saw Steve, I was blown away by his unique playing style and ability to always give the song just what it needs without overplaying. — Florrie (Solo Artist)

Sheila is extremely technically skilled, seemingly in all different styles of drumming — jazz, R&B, and rock to name a few. Her ability to play incredibly fast but maintain groove and accuracy is very impressive. And, not to mention, she carved a path to success in the '80s, when women (especially Black women) were rarely respected as musicians at all — drums specifically, being the least “lady like” instrument. — Stella Wave (Hello Mary)

Over half a century of drumming experience is immediately evident in each Roy Haynes performance (the man is currently 99 years old!). His jazz drumming, which has left people awe-struck since the 1940s, is full of speed and creativity. From Miles Davis to Louis Armstrong, many of the jazz greats had Haynes by their side, and our present-day understanding of jazz was shaped by his masterful and energetic drumming skills. — R. Rosenfield

Dale had a super underrated drum sound, whether that was live or recorded — he was second to none. — Johnny Lani (Skegss)

From their debut EP Six Songs in 1986 to now, Crover's work behind the kit has been a defining feature of The Melvins' sound. His balance between the raw and refined aspects of drumming went on to have a huge influence on rock music, especially a little band called Nirvana, which Crover played in through the late '80s. — P. Ragusa

Fela Kuti, the innovator behind Afrobeats, worked side-by-side with Tony Allen to create the dynamic rhythms that helped the sub-genre explode. Kuti embraced the concept of a fusion style that could combine elements of jazz with his native Nigerian music, and the results — which have now expanded across the globe — speak for themselves. — R. Rosenfield

Mario is an extremely powerful and in-the-pocket drummer. His work with Gojira showcases so many different genres, and his playing is a blast to watch. — Jared Klein (Rivers of Nihil)

Mario Duplantier was only 14 years old when he and older brother Joe formed the French metal masters Gojira, and thanks to his precision and power, he has established himself as one of the 21st century's premier metal drummers. — S. Kaufman

The story of Southern soul music couldn't be told without the city of Muscle Shoals, Alabama. The story of Muscle Shoals would be incomplete without mentioning Roger Hawkins, the longtime session stickman for the Muscle Shoals Rhythm Section. Hawkins and this crew of musicians performed on iconic tracks like Aretha Franklin's "Respect" and Percy Sledge's "When a Man Loves a Woman," as well as other cuts from Etta James, Paul Simon, and countless others. Becoming one of the most reliable session drummers of the era led to a list of credits that was miles long and incredibly star-studded. —M. Siroky

Benny Benjamin was a crucial component of one of the most visionary and successful rhythm sections in music history: Motown Records' The Funk Brothers. Alongside bass-master James Jamerson (who took the top spot on our list of the 100 Best Bassists of All Time), Benjamin brought a compositional elegance to dozens of Motown hits from Stevie Wonder, The Temptations, and Gladys Knight & the Pips. Benjamin's rattling snare sound (see: "My Girl"), plus his adeptness with styles and dynamics, was a major reason why Motown's output captured the world's attention. — P. Ragusa

How many hours did Kenny Clarke have in a day? Over the course of his career, the drummer and band leader appeared in dozens of combos, supporting genre icons like Miles Davis and Dizzy Gillespie. Credited as a major innovator in bebop drumming — a notoriously intricate and challenging jazz style — Clarke introduced the concept of utilizing the ride cymbal to keep time. His idiosyncratic approach to playing made him impossible to ignore. — M. Siroky

Extremely musical, well educated, with incredible time, meter, and feel. Great songwriter as well. — Jadon Bean (Dirty Honey)

Best known as a onetime drummer for Steely Dan and a founding member of Toto, Jeff Porcaro was also a prolific and versatile session drummer, playing on thousands of recordings throughout his career, including songs by Eric Clapton, Pink Floyd, Bee Gees, and Madonna.— S. Kaufman

Dennis Chambers might not have played on "Rapper's Delight," as is commonly believed, but just about all of the other legends surrounding the drummer seem to be true. Chambers was gigging out by age six, had joined Parliament-Funkadelic by age 18, and became the house drummer for the Sugar Hill Label in 1981. In the decades since, he's only proven his jazz fusion virtuosity, both on tape with bands like Niacin and on stage backing artists like Carlos Santana. — J. Krueger

The subdivision you have to do as an incredible drummer who is also the lead vocalist is percussion in itself. On his first ever solo release, he plays what has to be the most iconic drum fill in existence — which is hard as a drummer at any stage of their career knowing that the most iconic drum fill has already been played and you will never be the person to write it. — Caden Clinton (Pool Kids)

Janet Weiss plays her drums in a way I haven’t heard many people play. I find her to be one of the most creative and inspiring drummers around, treating her drums like more than just drums, but a melodic instrument. — Audrey Johnson (La Luz)

Alex made me want to play rock 'n’ roll and was the first “rock star” drummer that I idolized when I was in elementary school. Hell, I dressed up as “Alex Van Halen” two years in a row for Halloween in grades 3 and 4! Alex has always been underrated and that’s always bothered me. He has a fantastic feel and is a unique drummer in the rock 'n’ roll world that should get more credit than he gets. Ask Jim Keltner… he’ll tell you! — Josh Freese (Foo Fighters, A Perfect Circle)

My second “rock concert” ever was Missing Persons at Cal State Fullerton in October 1984. I had no idea what I was in for when I saw Terry play live for the first time. It blew me away and set me on a path that I’m still continuing on. He was totally aggressive, yet played with finesse and a musicality that I’d never seen or heard before. It had a profound effect on me and changed me forever. I would not be the drummer I am today had I not discovered Terry Bozzio when I was 11. —Josh Freese (Foo Fighters, A Perfect Circle)

Ironically, I never saw Josh with The Vandals; my first time seeing him perform was A Perfect Circle's CD release party for Mer de Noms. He's just one of the best drummers of all time. He's so smooth, solid, and effortless. I've since seen him play with a few other acts and he's always a standout, love watching him play. There's a reason he's the No. 1 studio drummer — hell, I could be in a band with him! (He's also a super mellow dude, great hang.. — Chris Hesse (Hoobastank)

The most sampled drummer in history, an absolute groove master. — Gus Rios (Gruesome, Left to Die)

David Garibaldi has brought a ton of innovation to funk with his talent, demonstrated beautifully in Tower of Power’s “Oakland Stroke.” As the genre has grown over time, Garibaldi has been along for the ride with skills that are nothing short of inspirational. — R. Rosenfield

No one works harder than Matt, and it shows. And he’s always getting better and better, which is mind-boggling, because he is so freaking good already! He’s one of the most knowledgeable drummers doing it and can go so incredibly far down rabbit holes with everything he plays that it’s truly amazing. He also has the ability to kick his performances into higher and higher gears. Think you’ve seen him play a crazy fill or solo? Just keep watching him — it’ll get crazier and crazier in the most impressive way. He’s undoubtedly one of the best drummers of all time. — Matt Halpern (Periphery)

Vinny is amazing. His style is very much like Bonham, and he has the coolest fills. —Jimmy Bower (Down)

When it’s time to turn up the volume, Black Sabbath’s Vinny Appice is your man. Appice has developed a reputation as a hard-hitter who has contributed to some of the most noteworthy songs in the metal genre through his work in both Black Sabbath along with his time in Dio. His sound is instantly recognizable and contagious. — R. Rosenfield

Jam bands live or die by the drummer, and Kreutzmann established the archetype. He did a lot more than provide the structure for those long Grateful Dead grooves; he subtly shifted tempo and volume, transforming the listening experience so that an open field could feel as intimate as a block box or as vast as outer space. With apologies to Mickey Hart, who was more of a percussionist, Kreutzmann's drumming brought the Grateful Dead to life and established a blueprint for every jam percustionist that followed. — W. Graves

Look up the Zildjian video of him playing a three-way solo with Vinnie Colaiuta and Dave Weckl. Vinnie and Dave were respectively the two biggest drummers in the world at that time, full of flashy chops — yet Steve wipes the floor with them (kinda) with one simple trick: The Feel. Anything he played just feels good and is highly inspiring. — Gunnar Olsen (Puscifer)

Jon currently plays with Queens of the Stone Age and is absolutely crushing it, but his work with The Mars Volta was what really made me pay attention. De-Loused in the Comatorium is a classic record in my opinion, and the drums are one of the primary pillars that the album stands on, and is really a thesis statement to Jons style. Powerful, explosive, but never ever losing the pocket and pulse of the song. — AJ Viana (Cognitive/Hath)

Besides Bonham, I see Cobham as one of the most notable drummers to fuse jazz fills and rudiments with rock energy and power. He's still killing it to this day, as well. — Patrick Dunn (REZN)

Billy Cobham is considered one of the greatest jazz fusion drummers of all time, with his wide-ranging influence reaching such prominent prog musicians like King Crimson's Bill Bruford and Tool's Danny Carey. — Spencer Kaufman

With Hal Blaine, prolific is an understatement. The famed drummer was a crucial part of The Wrecking Crew, a group of session musicians who played on a bevy of hits throughout the '60s and '70s (Blaine actually coined the term himself). He was one of the most foundational pop drummers in history and was chameleonic in his output. Blaine's fingerprints are all over the feather-light ride hits on "Be My Baby," the throttled psychedelia of "Aquarius/Let the Sunshine In," the booming smacks of "Bridge Over Troubled Water." To this day, no one has quite matched his pop music resume. — P. Ragusa

Steve Smith has always shown his ability to adapt smooth and powerful drumming across different genres. Smith introduced listeners to his distinct approach to rock during his time in Journey — consider his strong work on songs like “Don’t Stop Believing,” where he generates so much energy without overpowering the song — but he also displays his jazziest impulses in his band Vital Information. He remains revered amongst drummers from all different sonic worlds. — R. Rosenfield

Even if the only recording Clyde Stubblefield ever laid down was "Funky Drummer," he still would have more than earned his spot on this list. His break on the track has been sampled quite literally countless times in hip-hop, as many instances went and continue to go uncredited. And that's not all: Stubblefield has plenty more to celebrate, including helping define the syncopated grooves of funk music, making common time feel uncommonly danceable. — J. Krueger

Bill Ward's incredible work in Black Sabbath features the best mixture of jazz and rock drumming out there. He has been defined as the mastermind behind the unholy birth of heavy metal drumming. — Jimmy Bower (Down)

The feel this guy has behind the kit is impeccable! His manipulation of time signatures and feel got me hooked from day one! One of the kings of playing behind/in front of the beat. You can hear his knowledge of music in his playing. He's a student of music and his playing has taught me endless amounts. — Jon Beavis (IDLES)

Without him, I would not be the drummer I am today. To me, he is the godfather of thrash drumming (however started by Lars) and beyond. Anything you need to know to play metal — whether its extreme metal or thrash — can be learned by listening to Charlie Benante. Plus, he was playing blast beats before it became "a thing". — Jason Bittner (Shadows Fall, Category 7, Overkill)

I remember listening to the Bill Withers album Still Bill for the first time and being blown away by his voice… and then came "Kissing My Love!" What an intro, one of the smoothest shuffles I’d ever heard and I instantly fell in love with Gadson’s playing. Deep diving into the other bands and tracks he’d played with, I always get the sense that you can feel his joy and happiness in his playing. It has, and will always, continue to bring a smile to my face when I hear his drumming! — Jon Beavis (IDLES)

John "JR" Robinson's legacy in recorded music spans over 40 years, all the way from Michael Jackson's seismic Off the Wall debut to Lady Gaga's Chromatica single "Stupid Love." But perhaps the most impressive quality about JR is the way he can take a simple drum beat, add in the slightest of ghost notes or counter-rhythms, and make it entirely his own. While it's clear that he and Quincy Jones saw eye-to-eye in their vision of crystal clear, throbbing funk pop with Michael Jackson's tunes, his work with Chaka Khan and Rufus might even be more influential; "Ain't Nobody," which originally had just a drum machine, is as incredible as it is because of JR's crisp, inspired work behind the kit. — P. Ragusa

He has an insane feel and groove, with really unconventional parts and syncopation. The sound of his drums and the recordings are amazing too, often really blown out and tape-y. —Jay Watson (GUM)

He is the godfather of funk drumming. Extremely influential to many and his playing is quite tasty and easily recognizable. — Jimmy Bower (Down)

The Power. If anyone deserves to battle Animal from The Muppets on the drums, it’s Dave Grohl. In my younger years, it was the coolest thing in the world to be a hard hitter and I drew constant inspiration from not only Dave’s aggressive hitting, but his choice of unique grooves and fills, which twist your mind yet remain spacious and serve the song. There’s no doubt he approaches his drum parts as a songwriter, and that may be the biggest thing I was able to take away from him. — Arejay Hale (Halestorm)

It’s hard to imagine the legendary jazz masterpiece Time Out without Joe Morello’s ace percussion anchoring the ensemble. The LP contains Morello’s most significant recording as part of the Dave Brubeck Quartet, the hit “Take Five,” which was written specifically for Morello to play in 5/4 time. His ability to play odd time signatures and rhythms was central to the Quartet’s explorative and pioneering output during a pivotal era in the evolution of jazz. — J. Hadusek

What can I say about Joey that hasn’t already been said? He reinvented metal drumming for the modern era and brought with him an energy that I have yet to see anyone match, ever. Like someone threw a drum set down a stairwell and it magically sounded good as fuck. His style was so unique, you just know exactly when you are listening to him play. Nothing makes me wanna run through some drywall more than Joey’s drumming. RIP to another goat. — Jeris Johnson (Solo Artist)

Not only was Art Blakey one of the most influential figures in jazz drumming, he's also credited with spotting and mentoring some of the most important players in the genre, including Woody Shaw and Wynton Marsalis. As the founder of The Jazz Messengers, the band leader developed a reputation for his inimitable style behind the drum kit — his peers often referred to him as "Thunder." Under his direction, The Jazz Messengers grew into a launchpad for young talent and ultimately made an indelible mark on jazz as a whole. — M. Siroky

Charlie’s drumming had what I call perfect imperfection. It was the way he played slightly behind on the backbeat while pushing the downbeat. The result was a truly unique swagger and swing. Ronnie Wood called him “the engine” of The Rolling Stones. He played for the song. Plus, Charlie was easily the coolest guy in the room. — Lee Wall (Luna)

According to himself, Bernard Purdie played on over 500 No. 1 hits and recorded with over 2,000 artists. Even if his boasts are double the reality, that's still insane. He's also responsible for the Purdie shuffle. Look it up. —Pat McGee (Stars)

Bill is The Godfather of Prog… the Progfather!! His resume speaks for itself: Yes, King Crimson, UK, Genesis… He was an essential part of the development of drumming in progressive music in the '70s and '80s. —Mike Portnoy (Dream Theater/The Winery Dogs)

Buddy Rich (who will undoubtedly be a contender for top spot on this list) named Karen as his favorite pop drummer, and Buddy famously did not give out compliments. As an egomaniac, he might have bestowed this compliment because her style and technique is very much like his: monster chops, flash, and musicality. Oh, and she sings at the same time! Because she was such an amazing singer (coupled with a healthy dose of sexism), she was muscled off her instrument of choice and into the role of singer and frontwoman for The Carpenters. The hits followed and so did her tragic demise. First and foremost, Karen was a wildly talented drummer, and sadly she was never afforded the accolades she deserved, or revered for the drumming talent that she was. — Pat McGee (Stars)

Like the best film composers, Levon Helm could elevate a story's emotional resonance with literal sonic resonance. A Southern storyteller rooted in feel-driven rhythms, the man behind The Band had an unparalleled gift for aligning backbeats to a song's core. His tattered march on "The Night They Drove Old Dixie Down" gives Virgil Caine his stoicism; his well-earned weariness on "The Weight" gives the characters the strength to carry the load. Robbie Robertson may have been The Band's songwriter, but Helm wrote his own lyrics with his kit. – B. Kaye

Cindy Blackman has had a remarkable career, most notably spending 18 years touring with Lenny Kravitz while also developing her own music. After marrying Carlos Santana in 2010, she began touring and recording with his band, all while continuing her solo projects, including the 2020 album Give the Drummer Some. She also contributed the drum portion to Chris Stapleton and Snoop Dogg's "reimagining" of "In the Air Tonight," with her playing easily standing out as the track's highlight. —L.S. Miller

The prog metal king himself. Dream Theater was actually the first concert I ever went to, and I loved Mike. I used his signature drumsticks for years. He was the first drummer that really “blew my mind” with his skill set and unlocked in me the curiosity of how I could one day be that good. I taught myself how to play drums by listening to Dream Theater songs and trying my best to play along. For that reason, he solidly deserves a spot on my list. — Jeris Johnson (Solo Artist)

Roach played with gospel acts at the age of 10 and Duke Ellington at 16. By his twenties, he was inventing bebop alongside Sonny Rollins and Charlie Parker, and Quincy Jones called him "one of the first American musicians to understand the complex polyrhythms of Africa." Alongside Charles Mingus, he made up one of the best rhythm sections in jazz. Roach was the rarest of prodigies, a boy who went from imitating adults to forever changing how other adults play. — W. Graves

Quite possibly one of the most underrated drummers, he exemplifies the saying “play to the song,” never being too flashy, but capable of playing even a simple beat with a consistent groove from beginning to end. — Cyrus Bolooki (New Found Glory)

My very first drum hero. The Beatles will always be my favorite band of all time. They did everything first, including having a drummer with his own voice and personality. Ringo’s drumming was simple, but always perfect for the song. — Mike Portnoy (Dream Theater)

When it comes to the intersection of blues, funk, and soul, it doesn't get much better than John "Jabo" Starks. Bringing consistently clean, jazz-tinged groves to wild performers like James Brown and B.B. King, Jabo had a working man's mentality: keep the heartbeat alive and steady so the rest of the band can work their magic. Which is not to say his playing was boring — far from it. To have such rock-solid parts groove this hard is something of a small miracle. — J. Krueger

Total visionary. I can’t name many drummers who take this style approach and pull it off without pushing or pulling on the tempo. Just learning to play a few of his fills always feeds my mind and unlocks tricks for my personal use. If I get writer's block, I just try to stumble through a few of his licks, and I’ll accidentally come up with something as I go. — Jon Syverson (Daughters/Unsane)

Danny encompasses all of the elements that inspire me when it comes to playing for the greater good of the band, being themselves as an artist, driving the ship, and inspiring countless drummers. I have been a massive Tool fan since I was in 4th grade. Danny’s grooves, approach to music, power, and ability to dictate the flow of a song have influenced me massively as a drummer. — Charlie Engen (Five Finger Death Punch)

Tool is a patient band that leaves lots of room for the music and instruments to breathe. I’ve always found that leaving space in music makes it all sound larger than life, and heavier in a lot of ways. Danny Carey is the master of using negative space to make Tool sound huge with one guitar, bass, and drums. — Neil Sanderson (Three Days Grace)

Without a doubt the best metal drummer on the planet! His speed and footwork completely set him apart from all other drummers from early Slayer to present day. I’ve been lucky to witness him playing close up, and nobody else comes close to his drumming. In my opinion, he is the kingpin of the way metal drummers play today. — Michael "Moose" Thomas (Kill the Lights, Bullet for My Valentine)

Progressive rock lives and dies by its rhythm section, and no drummer has epitomized the genre's expansive possibilities like Carl Palmer. With his work in Atomic Rooster; Emerson, Lake & Palmer; and Asia, Palmer was responsible for hundreds of shapeshifting, downright bewildering rhythms, fills, and beats. No matter where his bandmates went musically, Palmer's deft touch and creative bursts made a substantial impact on each group's overall sound. Technically brilliant, sure, but Palmer is also a compositional genius, capable of bringing heaps of emotion to knotty songwriting. — P. Ragusa

He was a jazz-trained drummer, but also got into other styles such as playing African rhythms, which worked brilliantly. No doubt a big influence on many rock and metal drummers over the years, and one of the most creative and entertaining drummers of all time. —Mike Shepherd (Mastiff)

A famous jazz musician walks into a studio while the engineers are listening back to a recent recording. The musician is awe struck by the drumming and asks, "Who's playing drums?!" The engineer responds, "It's Elvin Jones," to which the musician then asks, "Then who's playing the cymbals?" This corny jazz parable sums it up. Elvin's drumming is an avalanche of sound that is at times incomprehensible, yet mind-blowingly musical. Power and grace. Listen to John Coltrane's "Sunship" and have your face melted. — Pat McGee (Stars)

Vinnie is an alien and we all know it. I’ve been having my mind blown by him since I was a kid and had the good fortune of sitting next to his drums so many times at packed little jazz clubs before I was old enough to drive. Vinnie’s feel, chops, musicality, etc… he’s got it all. I used to leave his gigs sometimes and not know if I was inspired or completely deflated — ha! You just cannot F with Vinnie C! — Josh Freese (Foo Fighters, A Perfect Circle)

Stewart Copeland’s unique approach to drumming and ability to insert sometimes atypical rhythms and fills anywhere within a musical phrase make him one of rock’s most interesting drummers, and also one of the hardest drummers to imitate! — Cyrus Bolooki (New Found Glory)

When I was a young teenager, one of my drumming mentors put me on to Stewart Copeland and The Police. Hearing “Voices Inside My Head” was so illuminating, because Stewart Copeland sounds like he’s two drummers on this track. The way Stewart Copeland plays, especially on that track, it had a hip-hop aesthetic… that Clyde Stubblefield, Jabo Starks beat, where the grooves are almost glitchy, like Dilla style — except it’s on a rock 'n' roll track. Hearing that as a young teen… it cracked my head. — Daru Jones (Jack White, Pete Rock)

Keith Moon flew by the seat of his pants. His skill and imagination allowed him to unconsciously play whatever he felt at the time. The freedom and passion he displayed is one of the most beautiful things I have ever witnessed. This inspires me probably more than any other skill a drummer can, or should, possess. —Kellii Scott (Failure)

After Buddy Rich, Keith Moon was one of the first drummers that I heard play where I was left gobsmacked. He had so much freedom in his performing, every time he played you felt like he was right on the edge. — Jon Beavis (IDLES)

You listen and think, "That guy sure plays some crashing and unpredictable things behind Miles," but then you listen closely and every note of his ride cymbal is somehow the exact same volume, like a typewriter. —Greg Saunier (Deerhoof)

At age 17, he had a radical conception of the drums that rocked the world then and sounds as fresh today. You can tell he’s hearing the music in slow motion. He could see the forest, so to speak. —Max Freeberg (Porches, Wet)

I was in 7th grade when I started listening to Dave and I was instantly amazed by how smooth he was at blending his grooves and fills. Obviously having some of the best hands of all time, the speed and flow at which he would move through songs and solos didn’t even seem real to me. I mimicked his chops and groove ideas and played to his play-along tracks for years, and you can hear plenty of his influence in my playing still today. Absolute legend in every sense of the word. —Charlie Engen (Five Finger Death Punch)

The Pioneer. And of course we have to tip our hats to the generation of drummers who blazed the trail for all of us today. In this category, you could select innovators like Buddy Rich, Max Roach, Sonny Payne, Kenny Klarke, Louie Bellson, Tony Williams, etc. As a kid, my dad showed me Gene Krupa and I loved not only his groundbreaking jazz skills, but also his showmanship. His ability to dazzle an audience as a band leader from behind the kit, spinning sticks and moving around like none other from his time. I believe his presence and star power is the reason we have had so many players who love to incorporate stage presence into their playing. —Arejay Hale (Halestorm)

Name another drummer in the rock-pop-prog-fusion idiom who thoroughly composed his parts for every song, never deviating live or otherwise, applied his vision to a 30+ piece electric/acoustic 360 degree orchestral rock kit, and somehow managed to make every part musical, seamless, and iconic. He also wrote the lyrics almost every Rush song. I don't care if you don't like Rush, Neil is undeniable. —Pat McGee (Stars)

Rush is another impressive array of three otherworldly musicians. The technicality and precision is jaw dropping. I was quite busy on drums early on in the Pixies because of him. Quite a formative band for me when I was younger and learning drums. — David Lovering (Pixies)

He was one of the greatest drummer to ever play the instrument. He had the probably the greatest hands ever, and played with fire and tenacity unmatched by none. Could have played double bass if he wanted, and there are pictures, but he didn't need it, he was that good! And no one f*cked with him on the bandstand! —Jason Bittner (Shadows Fall, Category 7, Overkill)

I saw Buddy play live (and stood about 20 feet from him every time) about three or four times when I was very young. It was always utterly jaw dropping. I still watch and listen to him on a regular basis. His presence on the drums and his command of the instrument was second to none. I’ve always referred to him as “the Rolls Royce of drumming." — Josh Freese (Foo Fighters, A Perfect Circle)

The Groove. Nobody grooved better than Bonzo. His ability to push and pull the tempo could make you wanna jump up and down or almost fall over backwards while listening! I, like so many of my peers, consider him my best teacher when it comes to laying down a fat beat. —Arejay Hale (Halestorm)

Bonzo had it all… somehow walking the fine line between power ad finesse, between simple and complex. And he always made the song groove above all. —Mike Portnoy (Dream Theater)

What would Led Zeppelin be without John Bonham? He was a pioneer, a gifted drummer and a genius. Play "Kashmir" for a roomful of drummers and watch every one of them air drum to it, including me. That’s a testament. — David Lovering (Pixies)