Top 20 Greatest Drum Solos of All Time

The Jimi Hendrix Experience
The Jimi Hendrix Experience’s hit “Fire” is a short tune, but hangs its creative hat on some incredible drumming from Mitch Mitchell. The entire song revolves around Mitch’s soloing during the verses, as Jimi’s vocals dance in between the dexterous tom-tom work. The drumming intensifies as “Fire” comes out of Jimi’s first guitar solo, as well, allowing Mitchell to get even heavier, while Hendrix prepares the final verse. The song continues through the fade out, as Mitchell and Jimi solo together, while bassist Noel Redding holds it all down. They call ‘em “classics” for a reason, after all.

Manowar
The American heavy metal band Manowar have never been an act to do anything in half measures. This includes drum solos, as evidenced by the epic “Achilles, Agony and Ecstasy in Eight Parts.” The song clocks in at nearly a half hour, allowing solo sections for each instrument. Separate chapters allow for both cymbal and drum solos from Rhino, a feat that the drummer also performed live on tour. Manowar has, in the past, been accused of using drum machines, but Rhino proved that he could, in fact, deliver the over-the-top goods with “Achilles.”

Emerson, Lake & Palmer
Speaking of bands who don’t do anything in halves, Emerson, Lake & Palmer are one of ‘70s prog rock’s most infamous examples of excess. The group’s influences from classical composers always shined through in their work, while their lineup included some of the world’s finest musicians. Drummer Carl Palmer is one of the greatest to ever sit behind a kit, and his work on ELP’s “Karn Evil 9” stands testament to that fact. The nearly-thirty minute track is another that features long stretches of instrumentation, with all three men taking their time to shine. Palmer’s work is ridiculously good throughout “Karn Evil 9,” but it’s the second movement, or “impression”, where the drummer lets loose with some excellent, extended jamming.

Cozy Cole
There’s a laundry list of great jazz drummers out there, from hard bop and modal to fiery jazz fusion. Cozy Cole may have come from the old school, but don’t count out his 1958 jam “Topsy II.” The song sold over a million copies, and it’s easy to see why. “Topsy II” has a smooth and easy going rhythm at first, a soul-jazz tune that sounds built for dancing. Then, Cole turns it up a notch, and begins to really cook. The drums rise up to the forefront and take charge. It carries the feel of a smoky nightclub, full of carousing and carrying-on. In short, “Topsy II” is a good time!

Cream
The classic rock band Cream were cut from a similarly bluesy cloth as The Jimi Hendrix Experience. The group also featured within their ranks two generational talents: Eric Clapton and Ginger Baker. The latter’s insane drum skills get to take charge here on this 1966 track, “Toad.” Sure, there is a bit for Clapton and bassist Jack Bruce to do, but make no mistake: this is the Ginger Baker show through and through. The drummer takes over as “Toad” approaches its first minute mark, beating his kit like it owes him money. Ginger Baker could always be a hard hitting drummer, but “Toad” also features delicate, jazzy features for balance. The drummer’s notoriously fiery temperament is well represented on “Toad”, an instrumental blues-rock track for the ages.

Santana
Before Carlos Santana was teaming up with Rob Thomas for his alternative rock hit “Smooth,” he was blowing minds with the psychedelic, Latin rock act that bore his name. “Soul Sacrifice” was one of Santana’s earliest bangers, a righteous instrumental that allows everyone in the band to shine. Drummer Michael Shrieve opens things up alongside percussionists Michael Carabello and Jose “Chepito” Areas. Shrieve gets further time to stand out about a minute-and-a-half into the track, before “Soul Sacrifice” breaks free for more solos from the other members. It’s truly a group effort, in an outstanding psychedelic rock piece from the genre’s peak period.

Grand Funk Railroad
Casual fans may only know Grand Funk Railroad for their hit “We’re An American Band”. But the group was actually a source of hard and heavy rock during the 1960s and ‘70s. “T.N.U.C.” is a great example of that, taken from Grand Funk’s earliest, gnarliest period. The track starts off in a jazzy, blues-rock mode before drummer Don Brewer goes hog wild for over five minutes! “T.N.U.C.” then enters a fiery climax, where all three members go for broke with an intense, hard rock finale. It’s the sort of stadium-shaking effort that feels tailor made for the band's arena pedigree, in the best possible way.

The Edgar Winter Group
Rock instrumentals have not, historically speaking, been a hallmark of chart-burning success. There have been some notable exceptions, however, such as this 1972 burner from The Edgar Winter Group. “Frankenstein” may be known primarily for its iconic opening riff, but we’d be remiss to forget about drummer Chuck Ruff, who actually coined the song’s title. Ruff gets time to show off his chops, kicking things off with some sweet cowbell before his drum fills turn into a full-fledged solo. The drummer here definitely gets some, even rocking out alongside Edgar Winter’s synthesizer as the song reaches a crescendo. Is it overkill? Probably, but we wouldn’t want it any other way.

Golden Earring
Golden Earring is a Dutch rock institution that went through a number of stylistic changes throughout their existence. Prog, heavy rock and pop all permeated their sound at one time or another, but it was “Radar Love” that was Golden Earring’s greatest chart success. It’s primarily bassist Rinus Gerritsen’s show as the song starts, with drummer Cesar Zuiderwijk anchoring it down, but the song’s slow build pays off soon enough. Near the three minute mark, Zuiderwijk’s moment in the sun arrives, and he breaks free with a drum solo that’s hard-hitting and impeccably produced. The toms sound like cannons during this short-but-sweet section, and it gets our fists pumping every time.

Van Halen
It’s the drum solo intro that launched the careers of a thousand hair metal bands. It’s “Hot For Teacher,” and it’s one of Van Halen’s biggest hits. Alex Van Halen always seems to circle the conversation when it comes to great rock drummers, and this song makes it easy to see why. “Hot for Teacher” is a tour-de-force for every member of Van Halen, and Alex makes his moment count when he kicks off the song. The effect is a bit lost in the music video of the song, but the actual studio take on “Hot for Teacher” is able to showcase the tuneful nature and punchiness of Alex’s solo. It’s not particularly long or drawn-out, but who cares when the end results are this awesome?

Iron Butterfly
It's one of psychedelic rock's most legendary songs, and also among the longest. "In-a-Gadda-Da-Vida" by San Diego's own Iron Butterfly is a staggering 17 minutes and 5 seconds long. The track's epic length is thanks to a number of solo sections for each member of the band, with the guitars, bass and drums each getting their turn in the spotlight. For drummer Ron Bushy's part, the percussionist shines on both a solo drum section, as well as a dual solo with organ player and singer Doug Ingle. Heck, even bassist Lee Dorman gets in on the act, soloing alongside Bushy during the final act of "In-a-Gadda-Da-Vida" and its hazy proto-metal dirge.

Buddy Rich
Bernard "Buddy" Rich is what you might call "a drummer's drummer." The New York native has long been lauded as one of the finest drummers to ever pick up a pair of sticks, influencing countless musicians in the wake of his Big Band success. Case in point? Rich's incredible work recording the music of "West Side Story," in particular the series of selections that make up the "West Side Story Medley." Buddy Rich's insane chops and flawless jazz technique are on full display here, as he leads his swinging band in some impressive and innovative musical directions. Simply stated: it's an incredible piece of music, and one which deserves serious investigation from anyone remotely interested in the art of percussion.

Tool
They say that it isn't always about the destination; it's about the journey. This line of thinking could also apply to the musical approach of Danny Carey, as the Tool drummer has made a career out of perfecting the art of restraint and precision. This can best be heard on such songs as "Ticks & Leeches" and "Forty Six & 2"—the dark, brooding intensity of which has played a major role in defining Tool's progressive metal sound. Carey crafts percussive build-ups with his hard-hitting style, lurching alongside guitarist Adam Jones and bass player Justin Chancellor to create dreary symphonies of drum-heavy bliss on the latter, which was released in 1998 as Ænima’s 4th single.

Judas Priest
Subtlety? No thanks. The heavy metal legends in Judas Priest would much rather hit you over the head with this piledriving title track to their 1990 opus, "Painkiller." Drummer Scott Travis pummels listeners with an unaccompanied double bass intro, and never looks back, driving the song from first note to last with furious aggression. Judas Priest had always had something of a revolving door drum position within their ranks, and "Painkiller" was Travis' first album with the band. Travis still holds that position today as Priest's longest serving drummer, but "Painkiller" might be the man's best performance with the band—a tour de force track that serves as a highlight of Judas Priest's enviable career.

The Surfaris
What comes to mind when you think of the musical genre known as "surf rock?" Sandy beaches? Bikinis? Pounding drums? If you're a fan of The Surfaris, then it's most definitely the latter. This is proven especially true when examining the pioneering surf rock group's biggest hit, "Wipe Out." Largely an instrumental, other than the brief cackled intro, "Wipe Out" rocks 'n rolls with tremolo-picked, reverb drenched guitar and the frenetic drumming of Ron Wilson. Wilson in particular gets to bust out on his own, alternating energetic drum solos against the riffing and solos of guitarists Jim Fuller and Bob Berryhill. It's a driving, infectious little number that has transcended genre to become one of the world’s most instantly recognizable songs.

The Beatles
Not every drummer necessarily enjoys standing in the spotlight to perform a flashy, self-serving drum solo. Beatles legend Ringo Starr was a famously understated performer, but he nevertheless performed one to kick off "The End," the final track on what would be the iconic rock 'n roll band’s second-to-last studio album. Setting aside the hidden track “Her Majesty,” "The End" appropriately closed out "Abbey Road''. Starr actually recorded the simple, yet effective solo alongside guitar and tambourine while in the studio. However, these instruments would be lowered in the mix prior to the album's release, allowing Starr's hard-hitting tom work to shine through on this fan favorite Beatles cut.

Black Sabbath
The founding four members of Black Sabbath are all monumental musicians in their own right. But drummer Bill Ward arguably flies under the radar as the most underrated performing within the group. Ward's impressive and impactful talents as a drummer were always put to good use by the band, but perhaps don't receive the attention they deserve. Case in point: "Rat Salad," the sometimes forgotten instrumental tucked away on side two of Sabbath's 1970 album "Paranoid." At barely two-and-a-half minutes, the track nevertheless manages to leave a mark, thanks to the heavy interplay between Ward's octopus-esque kit abuse and guitarist Tony Iommi's beefed-up blues menace. We'll have the "Rat Salad," please!

The Who
During his time with The Who, Keith Moon paired self-destructive behavior with serious drumming skills. "My Generation" is a great showcase of his chops, but for this pick we had to go with the epic "Won't Get Fooled Again." Not only does this track from The Who's fifth album, "Who's Next?," feature one of classic rock's all time best screams from singer Roger Daltrey, but it also boasts an incredible solo section from Moon near the track's back end. Keith begins to ramp up his playing around the six minute mark before coming 'round near the song's finale for one final, rush to the finish line. It's pure musical magic.

Rush
Rush’s 1981 album “Moving Pictures” featured a slew of stellar tracks showcasing Neil Peart’s percussive skills - such as their classic rock staple “Tom Sawyer”. However, Peart’s drums are even more front and center in the fan favorite instrumental from the same album, “YYZ”. Although live renditions of "YYZ" may feature more pronounced, unaccompanied drum solos from Peart, the track itself is a tour de force of virtuoso musicianship from any drummer's perspective—not to mention exceptional work from guitarist Alex Lifeson and bassist Geddy Lee. "YYZ" hits hard and hits often, reminding us that there are few acts out there that can do progressive rock quite like Rush.

Led Zeppelin
Classic rock fans often debate which drummer is the all time greatest. The conversation is ever-changing, but more often than not, Led Zeppelin's John Bonham sits atop these lists as an untouchable giant of the instrument. It's not hard to imagine why, either, at least when listening to this classic cut from the band's second LP. “Moby Dick” is the penultimate song on the album, but it makes a huge impression not only with Bonham's punishing of his drum kit, but also the badass riff Jimmy Page lays down to bring it all together. It's hard, it's aggressive, it's legendary: "Moby Dick" has it all as one of the best examples of the classic rock drum solo as art.