Every R.E.M. Album Ranked From Worst to Best

We grew up on them, and now we're growing old together... and we feel fine

REM albums
Illustration by Steven Fiche

    This definitive ranking of R.E.M.’s discography first appeared in 2017, several years after the band called it quits. It will remain not only to commemorate all the great music R.E.M. has given us over the years but also to burn like a candle — and keep vigil — just in case we one day get to add to it. Either way, we’ll keep going back to Rockville until it truly is the end of the world.

    It’s been over 40 years since R.E.M. played their first show, a friend’s birthday party in an abandoned church in Athens, Georgia, on April 5th, 1980. It’s hard to believe that a band with a catalog we kept holstered, cocked, and ready throughout our adolescences have turned such an advanced age. (We also must acknowledge that we’ve been drifting through a slightly emptier world for some time now without Athens’ favorite sons.) This was a damn fine band when they were at the height of their powers, and they were nearly as fine when they officially hung it up in 2011.

    You can’t make that claim for many bands. Then again, R.E.M. wasn’t like many other bands. And looking back through their body of work, you also realize they were far from a perfect band. But what made them special was a singular momentum that allowed them to evolve, adapt, and carry on. They always seemed to be figuring things out rather than polishing what they’d built and perfected.


    The toll of popularity, rigors of touring the globe, losing a founding band member, pressures to follow up both groundbreaking and career-stalling records — none of these challenges, or any others, seemed to ever keep Michael Stipe, Peter Buck, Mike Mills, and Bill Berry down for very long. In fact, the band made a habit of coming back and feeling more indispensable than ever — gifting us albums, songs, and performances that once taken in can never be truly taken away.

    We grew up on them, we grew with them, and now we’re growing old together… and we feel fine.

    Matt Melis


    15. Around the Sun (2004)

    Runtime: 55:21 (13 tracks)

    The Song I Love (Best Song): Nearly every song off of Around the Sun works better live (listen to the R.E.M. Live release), but one that actually works just fine in studio-recording form is a deep cut in an album full of them: “The Ascent of Man.” It has more passion in the chorus than you’ll find on any other track here. The chorus technically has lyrics, but it’s dominated by Stipe wailing “Yeah” with added syllables over and over again. If not indisputably intense, it’s at least going for it, which is more than anyone can say for the rest of the album.

    The Worst Song Ever (Worst Song): A wise man once said that if you throw a dart at a map of the world, you’ll hit the world. I think that analogy works here, and to be honest, I think I made it up. Anyway, let’s see (randomly points at track listing on Wikipedia entry). Eureka! It’s “Wanderlust,” a listless song that aims for “Stand” or “Shiny Happy People” goofiness but ends up, for lack of a better expression, generic as fuck. The mix is so dialed back we’re wondering if they forgot to finish it. This is a familiar feeling throughout.

    Harmonycoat (Best Harmonies): “Leaving New York” has a good harmony section in its back half that is curiously only performed by multiple recordings of Stipe. This isn’t a rare instance. In the decade that followed drummer Bill Berry’s departure, Mike Mills’ vocal harmonies disappeared. We could still hear him during tours, so it wasn’t a physical issue, but we never got him on record. You’d figure after losing a quarter of your band, you’d want to double down on familiarity, but hey, I’m just a listener. Check out the track on R.E.M. Live to hear the fully realized version.


    Mine Smell Like Honey (Stipe-iest Lyric): “Leaving was never my proud.” –“Leaving New York”

    Imitation of Life (Best Music Video): The victor goes to “Aftermath,” which features band members acting out in front of what is obviously a green screen for no reason. Stipe leaves his apartment, “walks” down the street, hops in elevators, “runs” down glitchy pathways. The rest of the band joins him as the video goes on, but the real reason why it’s the best video is because Peter Buck’s wearing striped pajamas during the proceedings, holding a book on DNA. Why? Who knows? The “Aftermath” video has a unique association to Around the Sun’s history: it’s not predictable.

    Reckoning (Analysis): Personally, I could go to bat for every R.E.M. record … except this one. Hell, we here at CoS were just about universal in Around the Sun coming in dead last. Say what you will about Up and Reveal, but at least those records had focus, a connection, a mission statement. Producer Pat McCarthy worked on those as well as Around the Sun, but instead of feeling ethereal, the band’s unlucky 13th album feels lost in space. Buck perfectly captures the whole experience: “[It] sounds like it did because we were bored of playing the songs over and over again for no reason.” R.E.M. would correct its course going forward. It would have been awful to go out on Around the Sun. You could say it would have been (puts on sunglasses) “The Worst Joke Ever.” — Justin Gerber