REM Albums in Order: The celebrated American rock band from Athens, Georgia, embarked on their legendary journey in 1980, when drummer Bill Berry, guitarist Peter Buck, bassist Mike Mills, and enigmatic lead vocalist Michael Stipe, all students at the University of Georgia, came together to shape the future of alternative rock.
R.E.M., an iconic American rock band hailing from Athens, Georgia, emerged onto the music scene in 1980, founded by four University of Georgia students: drummer Bill Berry, guitarist Peter Buck, bassist Mike Mills, and enigmatic lead vocalist Michael Stipe. Pioneers of alternative rock, R.E.M. etched their mark on the industry with a distinctive blend of musical elements.
Peter Buck’s mesmerizing arpeggiated guitar style, Michael Stipe’s enigmatic vocal qualities and stage presence, Mike Mills’ melodic bass lines and harmonious backing vocals, and Bill Berry’s precise, economical drumming collectively formed the band’s signature sound. During the early 1990s, R.E.M. was held in high regard by fellow alternative rock acts such as Nirvana and Pavement as trailblazers of the genre. Despite the departure of Bill Berry in 1997, the band continued their journey into the 2000s, experiencing a mix of critical acclaim and commercial success.
Eventually, in 2011, they bid farewell amicably after amassing a staggering 90 million album sales worldwide, solidifying their status as one of the globe’s best-selling music acts. R.E.M.’s impact on the music landscape is undeniable, and their story is one of innovation, evolution, and enduring influence. So, if you are a die heart fan of REM Albums then check out here we have list of REM albums in order of release so far.
R.E.M Albums Available on: Apple Music
The discography of American alternative rock band R.E.M. has released fifteen studio albums, five live albums, fourteen compilation albums, one remix album, one soundtrack album, twelve video albums, seven extended plays, sixty-three singles, and seventy-seven music videos.
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“Murmur,” the inaugural studio offering from American alternative rock pioneers R.E.M., debuted on April 12, 1983, under the banner of I.R.S. Records. This album quickly garnered critical acclaim, thanks to its distinctive sonic identity. Lead vocalist Michael Stipe’s enigmatic lyrics, the jangly guitar style of Peter Buck, and the melodic basslines of Mike Mills coalesced to create a unique and captivating sound. “Murmur” not only marked the beginning of R.E.M.’s illustrious career but also left an indelible mark on the music landscape, laying the foundation for their future as influential rock trailblazers.
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“Reckoning,” alternatively titled “File Under Water,” is the second studio album by the influential American alternative rock band R.E.M. It was released on April 9, 1984, through I.R.S. Records. Produced by Mitch Easter and Don Dixon, the album was recorded at Reflection Sound Studio in Charlotte, North Carolina, during a 16-day span in December 1983 and January 1984. Dixon and Easter aimed to capture the essence of R.E.M.’s electrifying live performances, utilizing binaural recording techniques on select tracks. Lead vocalist Michael Stipe delved into darker lyrical themes, often exploring water-related imagery. The album received critical acclaim, achieving gold certification in the U.S. and reaching notable chart positions in both the U.S. and the UK.
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“Fables of the Reconstruction,” alternatively titled “Reconstruction of the Fables,” stands as the third studio album by the pioneering American alternative rock band R.E.M. This iconic record, produced by Joe Boyd, marked a significant departure as it was the band’s inaugural recording venture outside the United States. Released on June 10, 1985, via I.R.S. Records, the album draws lyrical inspiration from the eerie and evocative themes of Southern Gothic literature and characters, weaving a unique narrative tapestry that showcases R.E.M.’s distinctive musical craftsmanship within the alternative rock genre.
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Lifes Rich Pageant”, the fourth studio album by American alternative rock pioneers R.E.M., marked a pivotal moment in their musical evolution upon its release on July 28, 1986. Produced by Don Gehman at John Mellencamp’s Belmont Mall Studios in Belmont, Indiana, this record diverged from their earlier, more obscure sound, embracing an accessible, hard rock-inspired direction. A critical success, it showcased the band’s artistic versatility, setting the stage for their ascent in the alternative rock scene. This album, the only collaboration with Gehman, showcased R.E.M.’s ability to continually reinvent their sound while earning acclaim from both fans and critics alike.
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“Document,” the fifth studio album by American rock band R.E.M., marked a pivotal moment in their career upon its release on August 31, 1987, via I.R.S. Records. Produced by Scott Litt, it represented a departure from their earlier work, aligning with the harder rock sound and featuring more discernible lyrics. Building on the momentum of their previous album, “Lifes Rich Pageant,” “Document” soared to new heights for R.E.M. It yielded their inaugural top 10 hit, “The One I Love,” and reached an impressive peak at number 10 on the Billboard 200 chart, establishing the band as a formidable force in the music industry at the time.
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“Green,” the sixth studio album by American rock legends R.E.M., made its debut on November 7, 1988, via Warner Bros. Records. Produced by the band and Scott Litt, it delved into political themes within both its lyrics and packaging, showcasing R.E.M.’s commitment to social commentary. The album marked an experimental phase, introducing major-key rock compositions and incorporating diverse instruments such as the mandolin while also experimenting with instrument swaps. “Green” enjoyed both critical acclaim and commercial success upon release. The band embarked on an extensive 11-month global tour in support of the album, and it spawned hit singles including “Orange Crush,” “Stand,” “Pop Song 89,” and “Get Up.”
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“Out of Time” marked a pivotal moment in R.E.M.’s career, released on March 12, 1991, by Warner Bros. Records. This seventh studio album catapulted the band from cult status to international stardom. It achieved chart-topping success in both the United States and the United Kingdom, with an astonishing 109 weeks on U.S. album charts and 183 weeks on the British charts. The album’s sales exceeded four and a half million copies in the U.S. and soared past 18 million copies worldwide. Recognized with three Grammy Awards in 1992, including Best Alternative Music Album and two for the iconic single “Losing My Religion,” “Out of Time” remains a cornerstone of R.E.M.’s enduring legacy.
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“Automatic for the People,” R.E.M.’s eighth studio album, debuted on October 5, 1992, in the UK and Europe, followed by a US release on October 6. The band began working on it during the success of their preceding album, “Out of Time.” Enriched with string arrangements by John Paul Jones and conducted by George Hanson, the album explores themes of mortality, loss, mourning, and nostalgia. It received critical acclaim, reaching number two on the US Billboard 200 and spawning six singles. Rolling Stone praised it as a deep, mature work. To date, “Automatic for the People” has sold over 18 million copies globally, solidifying its status as a classic.
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“Monster,” the ninth studio album by American rock legends R.E.M., burst onto the scene on September 27, 1994, courtesy of Warner Bros. Records. Produced collaboratively by the band and Scott Litt, the album marked a deliberate departure from their previous works, “Out of Time” (1991) and “Automatic for the People” (1992), embracing raucous guitar tones and straightforward lyrics. The album’s standout track, “What’s the Frequency, Kenneth?” led the charge as Monster soared to the top of charts in the United States and several other countries. Despite critical acclaim, it faced tough competition at the 37th Annual Grammy Awards. Subsequently, R.E.M. embarked on their first tour in years, despite health challenges among band members, and laid the groundwork for their next album, “New Adventures in Hi-Fi” (1996).
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“New Adventures in Hi-Fi,” R.E.M.’s tenth studio album, marked a significant milestone in the band’s career. Released on September 9, 1996, in Europe and Australia, and the following day in the United States, it was their fifth major-label offering under Warner Bros. Records. This album holds historical importance as it was the last to feature founding member Bill Berry, who departed from the band amicably the following year, along with original manager Jefferson Holt and long-time producer Scott Litt. Widely regarded by fans and the band members themselves as representative of R.E.M.’s peak, it has sold approximately seven million units and continues to enjoy cult status, consistently ranking among the band’s finest work in retrospective assessments.
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“Up,” the eleventh studio album by American rock band R.E.M., debuted on October 26, 1998, under Warner Bros. Records. This significant release marked a pivotal moment for the band as it was their first album crafted without drummer Bill Berry, who had retired in October 1997. To fill the void, R.E.M. enlisted session drummers like Joey Waronker and Barrett Martin, in addition to employing programmed drum machines. The emotional backdrop of Berry’s departure cast a shadow over the recording process, with the band suggesting that despite their best efforts, his absence left a profound impact on the album’s overall atmosphere and direction.
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“Reveal,” the twelfth studio album by American alternative rock band R.E.M., made its debut on May 14, 2001, under Warner Bros. Records. Following the departure of drummer Bill Berry and the release of the polarizing “Up” in 1998, R.E.M. returned with a more upbeat sound on “Reveal,” co-produced alongside longtime collaborator Pat McCarthy. The album earned positive reviews from music critics. In 2002, R.E.M. offered fans a unique twist, allowing tracks from “Reveal” to be remixed by various producers and industry figures, resulting in the free download album “r.e.m.IX.” In 2005, an expanded two-disc edition of “Reveal” with CD, DVD, and liner notes was released, and the vinyl LP edition was reissued in August 2023.
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“Around the Sun” marks the 13th studio album by American alternative rock band R.E.M., making its debut on October 5, 2004, under Warner Bros. Records. This album reflects a pivotal juncture in the band’s musical evolution, characterized by a shift in sound and experimentation. While it received a lukewarm reception, it demonstrates R.E.M.’s willingness to explore new musical territories. This release is part of the band’s enduring legacy, highlighting their ability to adapt and innovate within the ever-evolving landscape of alternative rock.
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Released on March 31, 2008, in Europe and a day later in North America, “Accelerate” marked R.E.M.’s 14th studio album. Produced in collaboration with Jacknife Lee, it was a deliberate departure from their 2004 release, “Around the Sun.” The band unveiled most of the album’s tracks during a five-night residency at Dublin’s Olympia Theatre before recording it in a swift nine-week timeframe. “Accelerate” was a celebrated return to form for R.E.M., garnering praise from music critics and earning a Metacritic rating of 79/100.
Reviewers lauded the album’s aggressive and purposeful sound, with Q magazine describing it as a testament to a confident and self-assured band. This release also marked their last album to be followed by a tour, as they chose to forego touring for their subsequent and final album, “Collapse into Now,” before amicably disbanding.
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“Collapse into Now,” R.E.M.’s fifteenth and final studio album, debuted on March 7, 2011, under the Warner Bros. label. Produced by Jacknife Lee, who had previously collaborated with the band on “Accelerate” in 2008, the album featured notable singles like “It Happened Today,” “Mine Smell Like Honey,” “Überlin,” and “Oh My Heart.” Lead singer Michael Stipe shed light on the album’s title, emphasizing its significance as a reflection on the past century’s values, mistakes, and triumphs, framed as a message to a younger generation. The album had sold 142,000 copies in the United States by September 2011, and its lyrics hinted at the band’s impending breakup, a sentiment they later confirmed in 2019. Despite this, the band did not tour to promote the album, making it unique in their discography.
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