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Dressed in ginger clothes and with his hair dyed ginger (future bandmate Pete Townshend later described him as a "ginger vision"), In the words of the drummer, "they said go ahead, and I got behind this other guy's drums and did one song-'Road Runner.' I'd several drinks to get me courage up and when I got onstage I went arrggg Ghhhh on the drums, broke the bass drum pedal and two skins, and got off. "We used to fight regularly," remembered Moon in later years."John [Entwistle] and I used to have fights – it wasn't very serious, it was more of an emotional spur-of-the moment thing." the pair had a rapport in the early years and enjoyed practical jokes and improvised comedy.He left school at age fourteen, around Easter in 1961.

and high backing vocals on other songs, such as "Pictures of Lily." Moon's performance on "Bell Boy" (Quadrophenia, 1973) saw him abandon "serious" vocal performances to sing in character, which gave him (in Fletcher's words) "full licence to live up to his reputation as a lecherous drunk"; it was "exactly the kind of performance the Who needed from him to bring them back down to earth." Moon also co-composed "The Ox" (an instrumental from their debut album, My Generation) with Townshend, Entwistle and keyboardist Nicky Hopkins.

He was fascinated by blowing up toilets with cherry bombs or dynamite, and by destroying television sets.

Moon enjoyed touring and socialising, and became bored and restless when the Who were inactive.

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.

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His drumming continues to be praised by critics and musicians.

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