This short excerpt reveals more of Taylor’s versatility. He plays an orchestral-style march that complements the piano- and vocal-driven section. Most of these rolls crescendo and he uses his bass drum and crash cymbals for extra emphasis.
This slamming tune begins with a 1 ah & e 4 pattern played on the cowbell that’s doubled with the hi-hat. There are some overdubbed handclaps at the end of each bar on 4 and 4 & respectively. Taylor moves this to a tom and straightens out the hi-hat pattern, then later moves it to the low toms and bass drum to set up the classic fill that takes us into the song. The fifth and sixth line feature a very unusual groove with interesting open hi-hat patterns that are perfectly arranged to fit the guitar riff.