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Fletcher considers the drumming on this album to be the best of Moon's career.

Unlike contemporary rock drummers such as Ginger Baker and John Bonham, Moon hated drum solos and refused to play them in concert.

" While the other three members handled most of the onstage vocals, Moon would attempt to sing backup (particularly on "I Can't Explain").

He was posthumously inducted into the Modern Drummer Hall of Fame in 1982, becoming only the second rock drummer to be chosen, and in 2011, Moon was voted the second-greatest drummer in history by a Rolling Stone readers' poll.

This later carried over to other aspects of his life, as he acted them out (according to journalist and Who biographer Dave Marsh) "as if his life were one long tour." Moon's style of drumming was considered unique by his bandmates, although they sometimes found his unconventional playing frustrating; Entwistle noted that he tended to play faster or slower according to his mood.

Contemporary critics questioned his ability to keep time, with biographer Tony Fletcher suggesting that the timing on Tommy was "all over the place." Who producer Jon Astley said, "You didn't think he was keeping time, but he was." it was not until the recording of Who's Next, with Glyn Johns' no-nonsense production techniques and the need to keep time to a synthesizer track, that he began developing more discipline in the studio.

Moon remained with the band during their rise to fame, and was quickly recognised for his drumming style, which emphasised tom-toms, cymbal crashes, and drum fills.

Throughout Moon's tenure with the Who his drum kit steadily grew in size, and along with Ginger Baker, Moon has been credited as one of the earliest rock drummers to regularly employ double bass drums in his setup.

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