Keith Moon is often considered one of the best drummers of all time – if not the best drummer of all time – and it’s easy to see why. As the drummer for The Who, he was an unstoppable force, as his relentless pummeling behind the drums became an essential part of the band’s sound. Let’s take a look at a handful of essential tracks that show why Keith Moon was such a vital, dynamic drummer.

“I’m A Boy” (1966)

This was one of the earliest songs to really show what Moon was capable of. Each of the first two choruses feature his ramshackle drumming as the primary instrument alongside Roger Daltrey’s vocals and, later, he becomes the essential part of the song’s instrumental break, which was certainly not atypical of Moon during this period. Moon’s drumming also fits the theme of the song quite well, telling the tale of a boy whose mother forces him to act feminine when he just wants to be a regular boy. Appropriately, Moon’s work gives the song a decidedly rough-and-tumble feel.

“Happy Jack” (1966)

Generally speaking, it’s rare to hear the drums as the lead instrument in a song by a four-piece band, but that’s the case here. After 35 seconds of subtlety, Moon’s hyper-fast drumming goes to work, starting and stopping at various points during the song, essentially controlling the entire dynamic. Moon’s drumming had already proven essential before “Happy Jack,” but this was the moment we learned he could be the main force behind a track.

“The Acid Queen” (1969)

This classic from Tommy is the quintessential example of how Moon’s bombastic drumming could add gravitas to a particularly emotional song. The drums get louder and more frantic going into each chorus, giving the listener a sense of how important the scene being described is. We can feel the fear Tommy feels as he goes to visit The Acid Queen, partly because Moon’s epic drum track gives the song a palpable sense of terror. This is especially true during the instrumental break going into the last chorus. Few drummers have been better at creating moments of tension and suspense than Keith Moon.

“A Quick One, While He’s Away” (1970)

This track, taken from the legendary Live At Leeds album, is a brilliant performance of the first rock opera The Who ever wrote. Telling the story of a young woman who decides to have an affair after her lover has been gone for over a year, then is subsequently forgiven when he returns home, it was a predecessor to the larger themes that would be explored on Tommy and Quadrophenia. As always, Moon’s electric performance gives the song tons of extra life. Particularly impressive is his work during the “Ivor The Engine Driver” portion of the song. Ivor, the man who our protagonist sleeps with, is supposed to be a highly shady character, and Moon’s drumming provides a suitably creepy vibe to the scenario.

“Bell Boy” (1973)

Moon is certainly the star of this classic Quadrophenia track. Not only does he give it a killer intro, he also does a great job playing the character of Ace-Face, a former legend who is now stuck working as the titular bell boy at a hotel. His exaggerated cockney accent brings some comedy to the proceedings. This song is a reminder that along with his incredible energy, Moon also brought a much needed sense of humor to The Who, often counteracting the dark lyrical themes that Pete Townshend explored.

And finally, just enjoy this awesome five-minute drum solo

While Moon’s contributions to individual tracks have been monumental, perhaps the best way to understand just how powerful a musician he was is to simply watch him play for five uninterrupted minutes. The raw power he brought to his work was nothing short of miraculous, and this clip encapsulates that perfectly.