...NEVERTHELESS! It's a good track, and there's a lot for drummers to learn from this type of thing.
The main drum beat is of that 60s pop mode we could call “studio pop multi-percussion”, “60s studio pop”, whatever you like. It's a composed part, and different than a drummer would normally play, in that there's very little cymbal— there's no ride pattern:
That groove, together with a hand clap and a vocal “ahh” sound, and a lot of reverb, is incredibly auditorily famous:
There's another composed, part-type beat on the B section— what would normally be called the chorus, except it isn't very chorus-like. It's really a B section with a dramatic ending where they say the title of the song. And, whoops, typo alert— both flams should be accented:
On the solos, which are played on the A section opened up, drummer Hugh Grundy plays more normally, with a rhumba-like beat, and improvised fills:
The little triplet lick on the & of 2 is fairly technical; the tom tom hit and cymbal are played with your right hand, and the snare drum with your left.