Though I think Keith Moon was somewhat overrated at times, I can't think of any drummers I
don't like. Even the guy that played on the
Living Stones' "Jesus music" back in 1974 {Robert Sommerville}, while not being a good drummer
at all, contributed to a set of songs that, while not being played in
stellar fashion, are still songs I love.
And that brings up an interesting point for me. It's always the song that gets me. Once the song is accepted into my pantheon of pleasure, then I'll concentrate from time to time on things like what the instruments are doing, the lyrics {if there are any}, how the various elements interplay with each other, the mix, any production quirks, the quality of the singers {if there are any} etc.
There are a number of drummers whose playing I dearly love ~ and I've got no idea who they are ! I have no idea if they've played on other songs I dig. Uncredited session drummers.
Interestingly, I can't think of a single female drummer whose playing sticks in my mind. Isn't that weird ?
But naturally, there are some repeat performers who have a body of stuff I like, as well as those that are immortalized on the strength of their performance on one song or one album. I really like David Penna's work on Ad Astra's debut. I like Bill Bruford across 3 or 4 different bands. I'm a big fan of Bill Ward's stuff across Black Sabbath's first 6 LPs. I like Ian Paice's Deep Purple work from their debut up to "Come taste the band." Bobby Caldwell played some fantastic stuff on both the debuts of Captain Beyond and Armageddon. While I think that Airto Moreira is a superb percussionist, I think he was a brilliant and underrated drummer and it's easily forgotten that he was in the first incarnations of both Weather Report and Return To Forever. I dig the Fantastic 4 of jazz-fusion's early period, Tony Williams, Billy Cobham, Lenny White and Alphonse Muzon. I like the work of Liam Genockey, particularly in his Amalgam phase, where he showed himself to be almost the perfect person to have playing drums alongside yourself, so complimentary and selfless, yet endlessly inventive.
I really like the stuff that Twink and Skip Allen did with the Pretty Things in their awfully magnificent "SF Sorrow/Parachute" phase. I like John Bonham's inventive playing, both when he was being muscular and when he was bringing his talents in a calmer, softer vein ~ something for which one never sees him being given credit for. I used to think Michael Giles was overrated, but on the strength of King Crimson's debut, I really dig his playing. I like Bill Maxwell's unselfish, yet very present drumming, whether he was funking it up with Andrae Crouch or the Winans or jazzing it around with Koinonia. I like Thom Mooney's drumming with Nazz, he had the wild dynamism of Keith Moon and could whoop up a storm, but he also played for the song and could be a right softy, even though he didn't like the softer stuff.
Then there's guys I endlessly admire like Ringo, Charlie Watts, Ginger Baker, Phil Collins, Nick Mason, Kevin Westlake, John Stevens {someone who got the perfect symmetry between free playing, ensemble playing and driving the song with his band, Away}, Tony Oxley, Carlton Barrett, Rick Marotta, Chet McCracken and Omar Hakim. I really like Eamon Carr's simple but effective style. A flashy drummer would have wrecked what Horslips were doing. Neil Peart was the antithesis of Phil Rudd and Philthy Phil taylor, yet I dig them all. I like Joey Kramer, Bun E. Carlos and Dave Holland {the naughty one}, when he was in Trapeze. Phil Ehart of Kansas is a drummer for the thinking person. I like Dixie Lee's work with Lone Star, Dominique Bouvier on his playing with David Rose, Paul Motian {with Keith Jarrett on two albums recorded on the same 2 days, "Backhand" and "Death and the flower"}, Pierre Favre in his stuff with Mal Wadron and Dan Maurer on Low Flying Aircraft's debut {I think it might be their only record}. A Zambian guy that played on some of my stuff, Ray Kaela, is a superb drummer. I loved recording with him and was very fortunate to do so because he was so versatile and would give you whatever you needed. Make unmusical noises to demonstrate what you're looking for and Ray just converts it into drums. Priceless.
There's tons of drummers that I haven't mentioned because if I were to do so, I'd wear out my fingerprints......which might not be such a bad idea if I were contemplating a life of crime !
Generally speaking I'm somewhat new to drums 
