The definitive R.E.M. playlist

Through the years, R.E.M. never shied away from a good collaboration. One of its most memorable came on this opening number of 1991's smash Out of Time. Frontman Michael Stipe was a fan of rap outfit Boogie Down Productions and brought leader Kris "KRS-One" Parker to feature on a tune that mocked the media, radio, and even R.E.M. itself.

R.E.M.'s sixth studio album Green (1988) took a more pop turn than any of the band's previous work. "Stand" is a perfect example. While the record, and this song, in particular, turned off some longtime fans, the group continued its ever-building mainstream rise. The catchy, carousel-tinged "Stand" reached No. 6 on Billboard's Hot 100, and the video was an instant favorite on MTV. 

The first single from Green, "Orange Crush," in reference to the chemical Agent Orange used during the Vietnam War, hit No. 1 on Billboard's Mainstream Rock and Alternative Airplay charts. It also won the award for Best Post-Modern Video, courtesy of MTV. The song was personal to frontman Michael Stipe, whose father served in Vietnam. Stipe, and the band as a collective, never had problems making a statement on record, on stage, or off. 

The opener to Green is probably best known for its somewhat controversial music video, which Michael Stipe directed. Unfortunately, the nature of the video seems to overshadow the song's excellence.

The lead track from 1992's Automatic for the People. The album was more serious and kind of darker than the band's past offerings, which were more freeing, spiritual, and poppy. "Drive" is a message song directed toward the youth to take control of their lives and do what they need to be heard. The song peaked at No. 28 on Billboard's Hot 100 but did much better on the magazine's Mainstream Rock (No. 2) and Alternative Airplay (No. 1) charts.

We're going back to the band's 1982 debut EPChronic Town and the closest thing R.E.M. wrote that resembled a punk song. It's a rather basic-sounding track, slowed down to a proper alternative pace made for college rock radio. The tune gained popularity with mainstream R.E.M. fans thanks to its inclusion on 1988's compilation album Eponymous, which also features some of the group's hits to that point. 

A rather underrated gem from Green, "Turn You Inside-Out" features a riff similarly used in another popular R.E.M. tune from 1987's Document. The track was released as a promotional single but became popular with fans. Amid the aforementioned commercial poppiness of Green, "Turn You Inside-Out" harkens back a bit to the band's efforts from the mid-1980s, thus leaving enough credibility for the die-hards to still hang around.

Another old-school sentimental favorite is from the band's second studio album, Reckoning (1984). Compared to Murmur, the group's full-length studio debut, this record was more melodic, with a darker tint. "So. Central Rain" showed R.E.M.'s maturity as a group — proving to be more than just an eclectic college band. The song cracked the Billboard Hot 100, but its popularity grew as newer fans of the band returned to digest the older portion of its catalog.

"Superman" is perhaps the most popular of any R.E.M. cover, at least in terms of mainstream awareness. The song was written and recorded in the late 1960s by Texas-based band The Clique. R.E.M., reportedly much to the chagrin of Michael Stipe, opted to record the tune — with bassist Mike Mills on lead vocals — in the early 1980s and eventually included it on 1986's Lifes Rich Pageant album. The campy cut became a modest radio and live concert favorite. 

Sticking with the Reckoning album. "Pretty Persuasion" is undeniably R.E.M. That said, the song still stands out among the rest of the group's popular tracks of the time. The band had been playing the tune live since the early 1980s but opted not to release it on the Murmur record. A shout-out to anti-consumerism, "Pretty Persuasion" was not a chart success for the band, but in terms of relatively deep cuts, it's among the best.

An exceptionally underrated moment from Out of Time. "Half a World Away" is a simple yet poignant and moving piece that was never released as a single but can hold its own within an album that sold more than 4.5 million copies, spent over 100 weeks on the charts in the United States, and won three Grammy Awards. "Half a World Away" also features the band's continued use of the mandolin, as played here to perfection by Peter Buck.

Purposely misspelled, "Cant Get There from Here" was the first single released from R.E.M.'s third studio album, the conceptual Fables of the Reconstruction (1985). Part of the Southern theme that was the backdrop of the album, the song had an almost funk vibe since Peter Buck played his guitar in that mold. This was also the first R.E.M. tune to include a horn section.

The final offering from Reckoning, the song also has one of the better backstories within the R.E.M. catalog. Written by bassist Mike Mills in the early 1980s, who hoped his then-girlfriend would not return to her home of Rockville, Mary. The country-tinged track never earned any commercial success but generated almost cult-classic status amid the band's fan base and endured as a long-time live favorite.

"Everybody Hurts" is one of those songs that goes beyond the core of a band's fan base. Thanks to constant radio airplay and the video's regular presence on MTV, this Automatic for the People tune is among R.E.M.'s most recognizable pieces of music. Though drummer Bill Berry mostly wrote the song, a drum machine was used during the recording.

This was R.E.M.'s tribute to the antics and talent of late comedian/actor Andy Kaufman. The Automatic for the People track, which reached No. 30 on the Hot 100, is an example of the band's penchant for championing eclectic or misunderstood figures like themselves, or Michael Stipe, at the very least. The song's title was also used as the title of Miloš Forman's 1999 film about Kaufman, with Jim Carrey playing the lead role. 

Is this the most fun song to sing while drunk of all time? Perhaps. It's a great challenge, nonetheless. From 1987's Document, the band's first album to go Platinum, the song that's known for its blistering stream-of-consciousness lyrics peaked at No. 69 on Billboard's Hot 100. It's arguably the most recognizable song in the R.E.M. catalog. The song touches everything from cheesecake, hurricanes, Lenny Bruce, and Leonid Brezhnev. It might not make sense, but it's still an entertaining listening experience.

From 1994's Monster, "What's the Frequency, Kenneth?" is one of the R.E.M.'s heavier, fast-paced tunes. The title is taken from a 1986 incident where legendary newsman Dan Rather was attacked while walking the streets of New York City. However, the song's true meaning was Michael Stipe's shot at Generation X and its seemingly consistent dependence on mass media. The tune was a top-25 Hot 100 hit for the band. 

If we're talking R.E.M. deep cuts, it might begin and end with this Green offering. This mandolin-fueled ballad delivers a new and somewhat simpler moment for the band. Michael Stipe's vocals seem off-pitch as if his voice was about to crack, but that proves to be the beauty of the song. Mike Mills' underlying harmonies are also notable. 

The song took R.E.M. from an above-average alternative rock band to international superstars. Paced by its unique mandolin riff, "Losing My Religion" was the golden moment from Out of Time, topping out at No. 4 on the Billboard Hot 100 with a video played around the clock on MTV. A two-time Grammy winner, the track is not about any actual religion or spiritual belief. Instead, the band has consistently stated over the years, about losing one's way in life.

This might be R.E.M.'s most complex song lyrically — is it about oppression or acid rain? — and composition. From Lifes Rich Pageant, "Fall on Me" features quality vocal sharing between Michael Stipe and the whiny-yet-intoxicating-sounding Mike Mills. Bill Berry lends vocal help to a song that has featured different melodies over the years but remains one of the band's most celebrated tracks.

The aforementioned "Turn You Inside-Out" is a musical product of this stellar track from Document. There are many reasons for the album's greatness, but the powerful riff coming from Peter Buck's guitar on "Finest Worksong" is one of the most special moments in R.E.M. history. It was a progressive step for the band, away from the college rock scene and into a light that can be argued as the true high point of the group's existence.

This is arguably the shining moment of the Fables of the Reconstruction project. While the band itself might differ in its thinking, R.E.M. seems to do everything right in this song about the Southern Crescent, a passenger train that ran on the Southern Railroad. From the perfection in Michael Stipe's voice, superbly intertwined with well-timed harmonies, to Pete Buck's clean guitar work, it's R.E.M. showing the greatness that was coming to the forefront. Even the harmonica was a solid choice.

For the casual alternative rock fan, this was the tune that opened the door to the world of R.E.M. Reaching No. 9 on Billboard's Hot 100, this Document gem was the band's first top-10 single and led many mainstream rock listeners to keep R.E.M. on their radars. The tune might come off as a love song to the novice ear, but it's a little darker when truly delving into the lyrics. Regardless, it's one of R.E.M.'s most defining musical moments.

Not many R.E.M. songs can be described as "beautiful." "Nightswimming" would be one of those exceptions. A brilliantly composed ballad with Michael Stipe's vocals and bassist Mike Mills backing him on piano. Led Zeppelin bassist John Paul Jones provided a string arrangement on the track that harkens back to the band's early, more carefree days. It should be considered the undisputed highlight of the Automatic for the People album.

Released in July 1981, this was R.E.M.'s first single. The critical success of the song earned the band a deal with I.R.S. Records. From there, it was included on its 1983 debut studio album Murmur (in re-recorded form) and gained even greater popularity through inclusion on the Eponymous compilation. With its quick pace, snappy drum work, and Michael Stipe's grousing lyrics, "Radio Free Europe" showed the group's potential — that it was only a matter of time before R.E.M. went from Athens, Ga., bar band to Rock and Roll Hall of Famers.