R.E.M.

R.E.M. is an American rock ^{Rock music} band formed in Athens ^{Athens, Georgia} , Georgia ^{Georgia (U.S. state)} , in 1980 by Michael Stipe (lead vocals ^singing ), Peter Buck (guitar), Mike Mills (bass guitar), and Bill Berry (drums ^{drum kit} and percussion ^{percussion instrument} ). R.E.M. was one of the first popular alternative rock bands, and gained early attention due to Buck's ringing, arpeggiated ^Arpeggio guitar style and Stipe's unclear vocals. R.E.M. released its first single, "Radio Free Europe ^{Radio Free Europe (song)} ", in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP ^{Extended play} in 1982, the band's first release on I.R.S. Records. In 1983, the band released its critically acclaimed debut album Murmur ^{Murmur (album)} , and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio ^{campus radio} . Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love ^{The One I Love (R.E.M. song)} ". The group signed to Warner Bros. Records in 1988, and began to espouse political and environmental concerns while playing large arenas worldwide.

By the early 1990s, when alternative rock began to experience broad mainstream success, R.E.M. was viewed as a pioneer of the genre and released its two most commercially successful albums, Out of Time ^{Out of Time (album)} (1991) and Automatic for the People (1992), which veered from the band's established sound. R.E.M.'s 1994 release Monster ^{Monster (R.E.M. album)} was a return to a more rock-oriented sound. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three band members. In 1996, R.E.M. re-signed with Warner Bros. for a reported US$ ^{United States dollar} 80 million, at the time the most expensive recording contract in history. The following year, Bill Berry left the band, while Buck, Mills, and Stipe continued the group as a three-piece. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success. In 2007, the band was inducted into the Rock and Roll Hall of Fame.

 
Formation: 1980–1981

In January 1980, Michael Stipe met Peter Buck in the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly punk rock and protopunk artists like Patti Smith, Television ^{Television (band)} , and The Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Stipe and Buck soon met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it".

The band members eventually dropped out of school to focus on their developing group. They found a manager in Jefferson Holt, a record store clerk who was so impressed by an R.E.M. performance in his hometown of Chapel Hill, North Carolina, that he moved to Athens. R.E.M.'s success was almost immediate in Athens and surrounding areas; the band drew progressively larger crowds for shows, which caused some resentment in the Athens music scene ^{Music of Athens, Georgia} . Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous since a touring circuit for alternative rock bands did not then exist. The group had to tour in an old blue van driven by Holt, and the band members lived on a food allowance of $2 a day.

During the summer of 1981, R.E.M. recorded its first single, "Radio Free Europe", at producer Mitch Easter's Drive-In Studios in Winston-Salem, North Carolina. The single was released on the local independent record label Hib-Tone with an initial pressing of one thousand copies, which quickly sold out. Despite its limited pressing, the single garnered critical acclaim, and was listed as one of the ten best singles of the year by The New York Times.


I.R.S. Records and cult success: 1982–1986


R.E.M. recorded the Chronic Town EP with Mitch Easter in October 1981, and planned to release it on a new indie label named Dasht Hopes. However, I.R.S. Records acquired a demo of the band's first recording session with Easter that had been circulating for months. The band turned down the advances of major label RCA Records in favor of I.R.S., with whom they signed a contract in May 1982. I.R.S. released Chronic Town that August as its first American release. A positive review of the EP by NME praised the songs' auras of mystery, and concluded, "R.E.M. ring true, and it's great to hear something as unforced and cunning as this."

I.R.S. first paired R.E.M. with producer Stephen Hague to record its debut album. Hague's emphasis on technical perfection left the band unsatisfied, and the band members asked the label to let them record with Easter. I.R.S. agreed to a "tryout" session, allowing the band to return to North Carolina and record the song "Pilgrimage" with Easter and producing partner Don Dixon ^{Don Dixon (musician)} . After hearing the track, I.R.S. permitted the group to record the album with Dixon and Easter. Because of its bad experience with Hague, the band recorded the album via a process of negation, refusing to incorporate rock music clichés such as guitar solos or then-popular synthesizers, in order to give its music a timeless feel. The completed album, Murmur ^{Murmur (album)} , was greeted with critical acclaim upon its release in 1983, with Rolling Stone listing the album as its record of the year. The album reached number 36 on the Billboard ^{Billboard (magazine)} album chart. A re-recorded version of "Radio Free Europe" was the album's lead single and reached number 78 on the Billboard singles chart in 1983. Despite the acclaim awarded the album, Murmur sold only about 200,000 copies, which I.R.S.'s Jay Boberg felt was below expectations.

R.E.M. made its first national television appearance on Late Night with David Letterman in October 1983, during which the group performed a new, unnamed song. The piece, eventually titled "So. Central Rain (I'm Sorry)", became the first single from the band's second album, Reckoning ^{Reckoning (R.E.M. album)} (1984), which was also recorded with Easter and Dixon. The album met with critical acclaim; NME s Mat Snow wrote that Reckoning "confirms R.E.M. as one of the most beautifully exciting groups on the planet". While Reckoning peaked at number 27 on the US album charts—an unusually high chart placing for a college rock band at the time—scant airplay and poor distribution overseas resulted in it charting no higher than number 91 in Britain.

, Belgium, during R.E.M.'s 1985 tour.The band's third album, Fables of the Reconstruction (1985), demonstrated a change in direction. Instead of Dixon and Easter, R.E.M. chose producer Joe Boyd, who had worked with Fairport Convention and Nick Drake, to record the album in England. The band members found the sessions unexpectedly difficult, and were miserable due to the cold winter weather and poor food; the situation brought the band to the verge of break-up. The gloominess surrounding the sessions ended up providing the context for the album itself. Lyrically, Stipe began to create storylines in the mode of Southern mythology ^{Southern Gothic} , noting in a 1985 interview that he was inspired by "the whole idea of the old men sitting around the fire, passing on ... legends and fables to the grandchildren". Fables of the Reconstruction became the highest-selling record released by I.R.S. in America at that point. However, the album performed poorly in Europe and its critical reception was mixed, with some critics regarding it as dreary and poorly recorded. As with the previous records, the singles from Fables of the Reconstruction were mostly ignored by mainstream radio. Meanwhile, I.R.S. was becoming frustrated with the band's reluctance to achieve mainstream success.

For its fourth album, R.E.M. enlisted John Mellencamp producer Don Gehman. The result, Lifes Rich Pageant (1986) featured Stipe's vocals closer to the forefront of the music. In a 1986 interview with the Chicago Tribune, Peter Buck related, "Michael is getting better at what he's doing, and he's getting more confident at it. And I think that shows up in the projection of his voice." The album improved markedly upon the sales of Fables of the Reconstruction and eventually peaked at number 21 on the Billboard album chart. The single "Fall on Me" also picked up support on commercial radio. The album was the band's first to be certified gold for selling 500,000 copies. While American college radio remained R.E.M.'s core support, the band was beginning to chart hits on mainstream rock formats; however, the music still encountered resistance from Top 40 radio ^{Contemporary hit radio} . Following the success of Lifes Rich Pageant, I.R.S. issued Dead Letter Office ^{Dead Letter Office (album)} , a compilation of tracks recorded by the band during their album sessions, many of which had either been issued as B-sides or left unreleased altogether. Shortly thereafter, I.R.S. compiled R.E.M.'s music video catalog (except "Wolves, Lower") as the band's first video release, Succumbs.


Breakthrough success: 1987–199
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Don Gehman was unable to produce R.E.M.'s fifth album, so he suggested the group work with Scott Litt. Litt would be the producer for the band's next five albums. Document ^{Document (album)} (1987) featured some of Stipe's most openly political lyrics, particularly on "Welcome To the Occupation" and "Exhuming McCarthy", which were reactions to the conservative ^{Conservatism in the United States} political environment of the 1980s under American President Ronald Reagan. Jon Pareles of The New York Times wrote in his review of the album, "'Document' is both confident and defiant; if R.E.M. is about to move from cult-band status to mass popularity, the album decrees that the band will get there on its own terms." Document was R.E.M.'s breakthrough album, and the first single "The One I Love ^{The One I Love (R.E.M. song)} " charted in the Top 20 in the US, UK, and Canada. In light of the band's breakthrough, the December 1987 cover of Rolling Stone declared R.E.M. "America's Best Rock & Roll Band".

Frustrated that its records did not see satisfactory overseas distribution, R.E.M. left I.R.S. when its contract expired and signed with the major label Warner Bros. Records. In 1988, I.R.S. released the compilation Eponymous ^{Eponymous (album)} , which included most of the band's singles and a number of rarities. The band's 1988 Warner Bros. debut, Green ^{Green (R.E.M. album)} , was recorded in Nashville ^{Nashville, Tennessee} , Tennessee, and showcased the group experimenting with its sound. The record's tracks ranged from the upbeat first single "Stand ^{Stand (R.E.M. song)} " (a hit in the United States), to more political material, like the rock-oriented "Orange Crush ^{Orange Crush (song)} " and "World Leader Pretend", which address the Vietnam War and the Cold War, respectively. Green has gone on to sell four million copies worldwide. The band supported the album with its biggest and most visually developed tour to date, featuring back-projections and art films playing on the stage. After the Green tour, the band members unofficially decided to take the following year off, the first extended break in the band's career.


R.E.M. reconvened in mid-1990 to record its seventh album, Out of Time ^{Out of Time (album)} . In a departure from previous albums, the band members often wrote the music with non-traditional rock instrumentation including mandolin, organ ^{Organ (music)} , and acoustic guitar. Released in March 1991, Out of Time was the band's first album to top both the US and UK charts. and about 12 million copies worldwide by 1996. "Losing My Religion" was R.E.M.'s highest-charting single in the US, reaching number four on the Billboard charts. The album's second single. "Shiny Happy People" (one of three songs on the record to feature vocals from Kate Pierson of fellow Athens band The B-52's), was also a major hit, reaching number 10 in the US and number six in the UK. R.E.M. did not tour to promote Out of Time; instead the group played a series of one-off shows, including an appearance taped for an episode of MTV Unplugged.

After spending some months off, R.E.M. returned to the studio in 1991 to record its next album. Late in 1992, the band released Automatic for the People. Though the group had intended to make a harder-rocking album after the softer textures of Out of Time, the somber Automatic for the People "[seemed] to move at an even more agonized crawl", according to Melody Maker. The album dealt with themes of loss and mourning inspired by "that sense of ... turning thirty", according to Buck. Several songs featured string arrangements by former Led Zeppelin bassist John Paul Jones ^{John Paul Jones (musician)} . Considered by a number of critics (as well as by Buck and Mills) to be the band's best album, Automatic for the People reached numbers one and two on UK and US charts, respectively, and generated the American Top 40 hit singles "Drive ^{Drive (R.E.M. song)} ", "Man on the Moon ^{Man on the Moon (song)} ", and "Everybody Hurts". Like Out of Time, Monster topped the charts in both the US and UK. On March 1, Berry collapsed on stage during a performance in Lausanne, Switzerland, having suffered a brain aneurysm. He had surgery immediately and recovered fully within a month. Berry's aneurysm was only the beginning of a series of health problems that plagued the Monster Tour. Mills had to undergo abdominal surgery to remove an intestinal adhesion in July; a month later, Stipe had to have an emergency surgery to repair a hernia. Despite all the problems, the group had recorded the bulk of a new album while on the road. The band brought along eight-track recorders to capture its shows, and used the recordings as the base elements for the album.

R.E.M. re-signed with Warner Bros. Records in 1996 for a reported $80 million, the largest recording contract in history at that point. The group's 1996 album New Adventures in Hi-Fi debuted at number two in the US and number one in the UK. Time ^{Time magazine} writer Christopher John Farley argued that the lesser sales of the album were due to the declining commercial power of alternative rock as a whole. That same year, R.E.M. parted ways with manager Jefferson Holt, allegedly due to ***ual harassment charges levied against him by a member of the band's home office in Athens. The group's lawyer, Bertis Downs ^{Bertis Downs, IV} , assumed managerial duties.


Berry's departure and Up: 1997–2000


In April 1997, the band convened at Buck's Kauai holiday home to record demos of material intended for the next album. The band sought to reinvent its sound and intended to incorporate drum loops and percussion experiments. Just as the sessions were due to begin in October, Berry decided, after months of contemplation and discussions with Downs and Mills, to tell the rest of the band that he was quitting. Berry told his band mates that he would not quit if they would break up as a result, so Stipe, Mills, and Buck agreed to carry on as a three-piece with his blessing. Berry publicly announced his departure three weeks later in October 1997. Berry told the press, "I'm just not as enthusiastic as I have been in the past about doing this anymore . . . I have the best job in the world. But I'm kind of ready to sit back and reflect and maybe not be a pop star anymore." The remaining members of R.E.M. resumed work on the album in February 1998 at Toast Studios in San Francisco. The band ended its decade-long collaboration with Scott Litt and hired Pat McCarthy ^{Patrick McCarthy (record producer)} to produce the record. Nigel Godrich was taken on as assistant producer, and drafted in ex-Screaming Trees member Barrett Martin and Beck's touring drummer Joey Waronker. The recording process was plagued with tension, and the group came close to disbanding. Bertis Downs called an emergency meeting where the band members sorted out their problems and agreed to continue as a group. Led off by the single "Daysleeper", Up ^{Up (R.E.M. album)} (1998) debuted in the top ten in the US and UK. However, the album was a relative failure, selling 900,000 copies in the US by mid-1999 and eventually selling just over two million copies worldwide.

A year after Up's release, R.E.M. wrote the instrumental score to the Andy Kaufman biopic ^{Biographical film} Man on the Moon ^{Man on the Moon (film)} , a first for the group. The film took its title from the Automatic for the People song of the same name. The song "The Great Beyond" was released as a single from the Man on the Moon ^{Man on the Moon (soundtrack)} soundtrack album. "The Great Beyond" only reached number 57 on the American pop charts, but was the band's highest-charting single ever in the UK, reaching number three in 2000. Reveal shared the "lugubrious pace" of Up, and featured drumming by Joey Waronker, as well as contributions by Scott McCaughey (a co-founder of the band The Minus 5 with Buck) and Posies ^{The Posies} founder Ken Stringfellow. Global sales of the album were over four million, but in the United States Reveal sold about the same number of copies as Up. The album was led by the single "Imitation of Life ^{Imitation of Life (song)} ," which reached number six in the UK. Writing for Rock's Backpages, The Rev. Al Friston described the album as "loaded with golden loveliness at every twist and turn", in comparison to the group's "essentially unconvincing work on New Adventures in Hi-Fi and Up." Similarly, Rob Sheffield of Rolling Stone called Reveal "a spiritual renewal rooted in a musical one" and praised its "ceaselessly astonishing beauty."

In 2003, Warner Bros. released the compilation album In Time: The Best of R.E.M. 1988-2003, which featured two new songs, "Bad Day ^{Bad Day (R.E.M. song)} " and "Animal ^{Animal (R.E.M. song)} ". That same year Berry made a surprise appearance during an R.E.M. concert in Raleigh, North Carolina, performing backing vocals on "Radio Free Europe". He then sat behind the drum kit for a performance of the early R.E.M. song "Permanent Vacation", marking his first performance with the band since his retirement.

R.E.M. released Around the Sun in 2004. During production of the album in 2002, Stipe said, "[The album] sounds like it's taking off from the last couple of records into unchartered R.E.M. territory. Kind of primitive and howling". After the album's release, Mills said, "I think, honestly, it turned out a little slower than we intended for it to, just in terms of the overall speed of songs." Around the Sun received a mixed critical reception, and peaked at number 13 on the Billboard charts. The first single from the album, "Leaving New York", was a Top 5 hit in the UK. For the record and subsequent tour, the band hired a new full-time touring drummer, Bill Rieflin, who had previously been a member of Ministry ^{Ministry (band)} . In late 2004 R.E.M. toured with Bruce Springsteen, Jackson Browne, Pearl Jam, Bright Eyes ^{Bright Eyes (band)} and others on the Vote for Change tour. Throughout 2005, the band embarked on its first full-length world tour since the Monster Tour ten years earlier. During the tour, R.E.M. participated in the London event ^{Live 8 concert, London} of Live 8.


Accelerate: 2006–present

EMI, which owns the I.R.S. catalogue, released a compilation album covering R.E.M.'s work during its tenure on the label in 2006 called And I Feel Fine... The Best of the I.R.S. Years 1982-1987. The DVD When the Light Is Mine: The Best of the I.R.S. Years 1982-1987 was released simultaneously. That same month, all four original band members performed during the ceremony for their induction into the Georgia Music Hall of Fame. While rehearsing for the ceremony, the band recorded a cover of John Lennon's "#9 Dream ^{Number 9 Dream} " for Instant Karma: The Amnesty International Campaign to Save Darfur, a tribute album benefiting Amnesty International. The song, released as a single for the album and the campaign, featured Bill Berry's first studio recording with the band since his departure almost a decade earlier. In October 2006, R.E.M. was nominated for induction into the Rock and Roll Hall of Fame in its first year of eligibility. The band was one of five nominees accepted into the Hall that year, and the induction ceremony took place on March 12, 2007, at New York's ^{New York City} Waldorf-Astoria Hotel. The group, which was inducted by Pearl Jam lead singer Eddie Vedder, performed four songs with Bill Berry.

Work on the group's fourteenth album commenced in early 2007. The band recorded with producer Jacknife Lee in Vancouver and Dublin, where it played five nights in the Olympia Theatre ^{Olympia Theatre, Dublin} between June 30 and July 5 as part of a "working rehearsal". R.E.M. Live, the band's first live album (featuring songs from a 2005 Dublin show), was released in October 2007. The group followed this effort with the 2009 live album Live at The Olympia. R.E.M. released Accelerate ^{Accelerate (R.E.M. album)} in early 2008. The album debuted at number two on the Billboard charts, and became the band's eighth album to top the British album charts. Rolling Stone reviewer David Fricke considered Accelerate an improvement over the band's previous post-Berry albums, calling it "one of the best records R.E.M. have ever made."In a 1988 interview, Peter Buck described typical R.E.M. songs as, "Minor key, mid-tempo, enigmatic, semi-folk-rock-balladish things. That's what everyone thinks and to a certain degree, that's true." All songwriting is credited to the entire band, even though individual members are sometimes responsible for writing the majority of a particular song. Each member is given an equal vote in the songwriting process; however, Buck has conceded that Stipe, as the band's lyricist, can rarely be persuaded to follow an idea he does not favor.

Michael Stipe sings in what R.E.M. biographer David Buckley described as "wailing, keening, arching vocal figures". Stipe often harmonizes with Mills in songs; in the chorus for "Stand," Mills and Stipe alternate singing lyrics, creating a dialogue. Early articles about the band focused on Stipe's singing style (described as "mumbling" by The Washington Post), which often rendered his lyrics indecipherable. Creem writer John Morthland wrote in his review of Murmur, "I still have no idea what these songs are about, because neither me nor anyone else I know has ever been able to discern R.E.M.'s lyrics." Stipe commented in 1984, "It's just the way I sing. If I tried to control it, it would be pretty false." Producer Joe Boyd convinced Stipe to begin singing more clearly during the recording of Fables of the Reconstruction.

Stipe insisted that many of his early lyrics were "nonsense", saying in a 1994 online chat, "You all know there aren't words, per se, to a lot of the early stuff. I can't even remember them." In truth, Stipe carefully crafted the lyrics to many early R.E.M. songs. Stipe explained in 1984 that when he started writing lyrics they were like "simple pictures", but after a year he grew tired of the approach and "started experimenting with lyrics that didn't make exact linear sense, and it's just gone from there." Mills explained, "After you've made three records and you've written several songs and they've gotten better and better lyrically the next step would be to have somebody question you and say, are you saying anything? And Michael had the confidence at that point to say yes . . ." Songs like "Cuyahoga" and "Fall on Me" on Lifes Rich Pageant dealt with such concerns as pollution. Stipe incorporated more politically-oriented concerns into his lyrics on Document and Green. "Our political activism and the content of the songs was just a reaction to where we were, and what we were surrounded by, which was just abject horror," Stipe said later. "In 1987 and '88 there was nothing to do but be active." Stipe has since explored other lyrical topics. Automatic for the People dealt with "mortality and dying. Pretty turgid stuff", according to Stipe, while Monster critiqued love and mass culture. Buck has stated "[Byrds guitarist] Roger McGuinn was a big influence on me as a guitar player", but said it was Byrds-influenced bands, including Big Star ^{Big Star (band)} and The Soft Boys, that inspired him more. Comparisons were also made with the guitar playing of Johnny Marr of alternative rock contemporaries The Smiths. While Buck professed being a fan of the group, he admitted he initially criticized the band simply because he was tired of fans asking him if he was influenced by Marr, Mike Mills' melodic approach to bass playing is inspired by Paul McCartney of The Beatles and Chris Squire of Yes ^{Yes (band)} ; Mills has said, "I always played a melodic bass, like a piano bass in some ways . . . I never wanted to play the traditional locked into the kick drum, root note bass work." Mills has more musical training than his band mates, which he has said "made it easier to turn abstract musical ideas into reality."R.E.M. was pivotal in the creation and development of the alternative rock genre. Allmusic states, "R.E.M. mark the point when post-punk turned into alternative rock." With the release of Murmur, R.E.M. had the most impact musically and commercially of the developing alternative genre's early groups, leaving in its wake a number of jangle pop followers.

R.E.M.'s early breakthrough success served as an inspiration for other alternative bands. Spin ^{Spin (magazine)} referred to the "R.E.M. model"—career decisions that R.E.M. made which set guidelines for other underground artists to follow in their own careers. Spin's Charles Aaron wrote that by 1985, "They'd shown how far an underground, punk-inspired rock band could go within the industry without whoring out its artistic integrity in any obvious way. They'd figured out how to buy in, not sellout-in other words, they'd achieved the American Bohemian Dream." Steve Wynn ^{Steve Wynn (songwriter)} of Dream Syndicate said, "They invented a whole new ballgame for all of the other bands to follow whether it was Sonic Youth or the Replacements ^{The Replacements (band)} or Nirvana ^{Nirvana (band)} or Butthole Surfers. R.E.M. staked the claim. Musically, the bands did different things, but R.E.M. was first to show us you can be big and still be cool." Biographer David Buckley stated that between 1991 and 1994, a period that saw the band sell an estimated 30 million albums, R.E.M. "asserted themselves as rivals to U2 for the title of biggest rock band in the world."

Later alternative bands such as Nirvana, Pavement ^{Pavement (band)} and Live ^{Live (band)} have drawn inspiration from R.E.M.'s music. "When I was 15 years old in Richmond, Virginia, they were a very important part of my life," Pavement's Bob Nastanovich said, "as they were for all the members of our band." Pavement devoted the song "Unseen Power of the Picket Fence" from the No Alternative compilation (1993) to discussing R.E.M's first two albums at length. Kurt Cobain of Nirvana was a vocal fan of R.E.M., and had plans to collaborate on a musical project with Stipe before his death in April 1994. Cobain told Rolling Stone in an interview earlier that year, "I don’t know how that band does what they do. God, they’re the greatest. They’ve dealt with their success like saints, and they keep delivering great music."Throughout R.E.M.'s career, its members have sought to highlight social and political issues. According to the Los Angeles Times, R.E.M. is considered to be one of the United States' "most liberal and politically correct rock groups." The band's members are "on the same page" politically, sharing a liberal ^{Modern liberalism in the United States} and progressive outlook. Mills has admitted that there is occasionally dissension between band members on what causes they might support, but acknowledged "Out of respect for the people who disagree, those discussions tend to stay in-house, just because we'd rather not let people know where the divisions lie, so people can't exploit them for their own purposes." An example is that in 1990 Buck noted that Stipe was involved with People for the Ethical Treatment of Animals, but the rest of the band was not.

R.E.M. has helped raise funds for environmental, feminist and human rights causes, and has been involved in campaigns to encourage voter registration. During the Green tour, Stipe took time during sets to inform the audience about a variety of pressing socio-political issues. Through the late 1980s and 1990s, the band (particularly Stipe) increasingly used its media coverage on national television to mention a variety of causes it felt were important. One example is when the band attended the 1991 MTV Video Music Awards, during which Stipe wore a half-dozen white shirts emblazoned with slogans including "rainforest", "love knows no colors", and "handgun control now". R.E.M. helped raise awareness of Aung San Suu Kyi and human rights violations in Burma ^{Human rights in Myanmar} , when they worked with the Freedom Campaign and the US Campaign for Burma. Stipe himself ran ads for the 1988 supporting Democratic ^{Democratic Party (United States)} presidential candidate and Massachusetts governor Michael Dukakis over then-Vice President George H. W. Bush. In 2004, the band participated in the Vote for Change tour that sought to mobilize American voters to support Democratic presidential candidate John Kerry R.E.M.'s political stance, particularly coming from a wealthy rock band under contract to a label owned by a multinational corporation, has received criticism from some quarters. Former Q ^{Q magazine} editor Paul Du Noyer criticized the band's "celebrity liberalism", saying, "It's an entirely pain-free form of rebellion that they're adopting. There's no risk involved in it whatsoever, but quite a bit of shoring up of customer loyalty."

Since the late 1980s, R.E.M. has been involved in the local politics of its hometown of Athens, Georgia. Buck explained to Sounds ^{Sounds (magazine)} in 1987, "Michael always says think local and act local—we have been doing a lot of stuff in our town to try and make it a better place." The band has often donated funds to local charities and to help renovate and preserve historic buildings in the town. R.E.M.'s political clout was credited with the narrow election of Athens mayor Gwen O'Looney twice in the 1990s.*Murmur ^{Murmur (album)} (1983)
*Reckoning ^{Reckoning (R.E.M. album)} (1984)
*Fables of the Reconstruction (1985)
*Lifes Rich Pageant (1986)
*Document ^{Document (album)} (1987)
*Green ^{Green (R.E.M. album)} (1988)
*Out of Time ^{Out of Time (album)} (1991)
*Automatic for the People (1992)
*Monster ^{Monster (R.E.M. album)} (1994)
*New Adventures in Hi-Fi (1996)
*Up ^{Up (R.E.M. album)} (1998)
*Reveal ^{Reveal (album)} (2001)
*Around the Sun (2004)
*Accelerate ^{Accelerate (R.E.M. album)} (2008)