R.E.M. released its first single—"Radio Free Europe"—in 1981 on the independent record label Hib-Tone. The single was followed by the Chronic Town EP in 1982, the band's first release on I.R.S. Records. In 1983, the group released its critically acclaimed debut album, Murmur, and built its reputation over the next few years through subsequent releases, constant touring, and the support of college radio. Following years of underground success, R.E.M. achieved a mainstream hit in 1987 with the single "The One I Love". 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 enter the mainstream, R.E.M. was viewed by subsequent acts such as Nirvana and Pavement as a pioneer of the genre. The band released its two most commercially successful albums, Out of Time (1991) and Automatic for the People (1992), which veered from the band's established sound and catapulted it to international fame. R.E.M.'s 1994 release, Monster, was a return to a more rock-oriented sound, but still continued its run of success. The band began its first tour in six years to support the album; the tour was marred by medical emergencies suffered by three of the band members.
In 1996, R.E.M. re-signed with Warner Bros. for a reported US$80 million, at the time the most expensive recording contract in history. Its 1996 release, New Adventures in Hi-Fi, though critically acclaimed, fared worse commercially than its predecessors. The following year, Bill Berry left the band, while Stipe, Buck, and Mills continued the group as a trio. Through some changes in musical style, the band continued its career into the next decade with mixed critical and commercial success, despite having sold more than 85 million records worldwide and becoming one of the world's best-selling music artists. In 2007, the band was inducted into the Rock and Roll Hall of Fame, in their first year of eligibility. R.E.M. disbanded amicably in September 2011, announcing the split on its website.
In January 1980, Michael Stipe met Peter Buck in Wuxtry Records, the Athens record store where Buck worked. The pair discovered that they shared similar tastes in music, particularly in punk rock and protopunk artists like Patti Smith, Television, and the Velvet Underground. Stipe said, "It turns out that I was buying all the records that [Buck] was saving for himself." Through mutual friend Kathleen O'Brien, Stipe and Buck then met fellow University of Georgia students Mike Mills and Bill Berry, who had played music together since high school and lived together in Georgia. The quartet agreed to collaborate on several songs; Stipe later commented that "there was never any grand plan behind any of it". Their still-unnamed band spent a few months rehearsing in a deconsecrated Episcopal church in Athens, and played its first show on April 5, 1980, supporting the Side Effects at O'Brien's birthday party held in the same church, performing a mix of originals and 1960s and 1970s covers. After considering Twisted Kites, Cans of Piss, and Negro Eyes, the band settled on "R.E.M." (which is an initialism for rapid eye movement, the dream stage of sleep), which Stipe selected at random from a dictionary.
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. Over the next year and a half, R.E.M. toured throughout the Southern United States. Touring was arduous because a touring circuit for alternative rock bands did not then exist. The group toured in an old blue van driven by Holt, and lived on a food allowance of $2 each per day.
R.E.M. was pivotal in the creation and development of the alternative rock genre. AllMusic stated, "R.E.M. mark the point when post-punk turned into alternative rock." In the early 1980s, the musical style of R.E.M. stood in contrast to the post-punk and new wave genres that had preceded it. Music journalist Simon Reynolds noted that the post-punk movement of the late 1970s and early 1980s "had taken whole swaths of music off the menu", particularly that of the 1960s, and that "After postpunk's demystification and New Pop's schematics, it felt liberating to listen to music rooted in mystical awe and blissed-out surrender." Reynolds declared R.E.M., a band that recalled the music of the 1960s with its "plangent guitar chimes and folk-styled vocals" and who "wistfully and abstractly conjured visions and new frontiers for America", one of "the two most important alt-rock bands of the day." 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 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 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 or Nirvana 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." Over the course of its career, the band has sold over 85 million records worldwide.
Alternative bands such as Nirvana, Pavement, Radiohead, Coldplay, Pearl Jam (the band's vocalist Eddie Vedder inducted R.E.M. into the Rock and Roll Hall of Fame), and Live, 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's contribution to the No Alternative compilation (1993) was "Unseen Power of the Picket Fence", a song about R.E.M.'s early days. Local H, according to the band's Twitter account, created their name by combining two R.E.M. songs: "Oddfellows Local 151" and "Swan Swan H". Kurt Cobain of Nirvana was a fan of R.E.M., and had unfulfilled plans to collaborate on a musical project with Stipe. 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."
During his show at the 40 Watt Club in October 2018, Johnny Marr said: "As a British musician coming out of the indie scene in the early '80s, which I definitely am and am proud to have been, I can't miss this opportunity to acknowledge and pay my respects and honor the guys who put this town on the map for us in England. I'm talking about my comrades in guitar music, R.E.M. The Smiths really respected R.E.M. We had to keep an eye on what those guys were up to. It's an interesting thing for me, as a British musician, and all those guys as British musicians, to come to this place and play for you guys, knowing that it's the roots of Mike Mills and Bill Berry and Michael Stipe and my good friend Peter Buck."
Ghost Rider
R.E.M. Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Baby baby baby baby he's a blazin' away
Like the star star stars in the universe.
Ghost rider motorcyle hero
Baby baby baby baby he's a blazin' the truth
Ghost rider motorcyle hero
Sneakin round round round in a blue jumpsuit
Ahh!
Ahh!
Ghost rider motorcyle hero
Baby baby baby baby he's a blazin' away
Like the star star stars in the universe.
Baby baby baby baby he's a screamin' the truth
Like the star star stars in the universe.
Baby baby baby baby he's a screamin' the truth
America America is killing its youth.
Ahh!
Ahh!
Ghost rider motorcyle hero
Baby baby baby baby he's a screamin' away
Like the star star stars in the universe.
Baby baby baby baby he's a lookin' so cute
Sneakin round round round in a blue jumpsuit
Baby baby baby baby he's a screamin' the truth
America America
America America is killing its youth.
Ahh!
Ahh!
Ghostrider
Ghostrider
Ghostrider
Ahh!
The song "Ghost Rider" by R.E.M. is an upbeat rock song that features a fast-paced guitar riff and energetic vocals. The lyrics are somewhat cryptic and open to interpretation, but seem to be about a character called the Ghost Rider, who is a motorcycle hero blazing away like the stars in the universe. The lyrics also suggest that the Ghost Rider is screaming the truth and that America is killing its youth.
The Ghost Rider is likely a reference to various fictional characters with the same name who are portrayed as vigilantes or anti-heroes who ride motorcycles. The lyrics could be seen as a tribute to these characters or as a commentary on the state of American society, which is either being saved or destroyed by these motorcycle heroes.
The repetition of the phrase "baby baby baby baby" throughout the song adds a pop sensibility to the otherwise edgy rock tune. The chorus is catchy and memorable, with the "ahh!" interjections adding to the song's energy.
Overall, "Ghost Rider" is a high-energy rock song that showcases R.E.M.'s musical versatility and showcases their ability to write lyrics that are open to interpretation.
Line by Line Meaning
Ghost rider motorcycle hero
The subject of the song is a fearless rider on a motorcycle, seen as a hero by the singer.
Baby baby baby baby he's a blazin' away
The rider is driving his motorcycle at high speed, as if on fire.
Like the star star stars in the universe.
The rider is so impressive that he shines like the stars in the sky.
Baby baby baby baby he's a blazin' the truth
The rider represents the truth, and his actions are a testament to that.
Baby baby baby baby he's a lookin' so cute
The singer is moved by the rider's appearance on his motorcycle, seeing him as attractive.
Sneakin round round round in a blue jumpsuit
The rider is described as wearing a blue jumpsuit, while driving his motorcycle softly and cautiously.
Ahh!
An exclamation of excitement or surprise, possibly in response to the rider's actions.
Baby baby baby baby he's a screamin' the truth
The rider's loud and passionate driving is seen as a representation of the truth he embodies.
America America is killing its youth.
The rider is protesting against the societal issues that lead to the death and oppression of young people in America.
Ghost rider motorcyle hero
Reprise of the opening line, further emphasizing the rider's heroism on a motorcycle.
Baby baby baby baby he's a screamin' away
The rider continues to scream out the message of the song, with powerful and impassioned driving.
Baby baby baby baby he's a lookin' so cute
The singer continues to be enamored with the physical appearance of the rider and his motorcycle.
America America is killing its youth.
The song ends on a final plea for action against the societal factors that cause the death and suffering of American youth.
Ghostrider
Repetition of the song's title, further emphasizing the supernatural or otherworldly qualities of the rider.
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Alan Vega, Martin Reverby
Lyrics Licensed & Provided by LyricFind
@Cavernvision
I had no idea that REM covered this. Had no idea that they were fans of Suicide. Guess you learn something new every day.
@curly_wyn
Yep! In 1980 before R.E.M. first formed, loner art student Michael Stipe was picking up album Suicide by Suicide and then bonded with Peter Buck, who worked in the record shop, over their shared musical loves.
@lyonslaforet
respectful cover of the Suicide song as always with R.E.M. when they cover a song
@trfesok
This cover actually sounds like what it might have sounded like if Lou Reed had covered it, although it sounds nothing like the original! I have both in my REM playlist and like both! Thanks for uploading!
@thebarbaryghostsf
I'm surprised The Jesus and Mary Chain never covered this track.
@labelledejour802
they didn't covered , but they made "Living End"
@StratsRUs
They would have if Velvet Underground had written it
@curly_wyn
The Living End is their tribute to Suicide!
@fredstone5052
I never knew this was a cover version.I remember hearing this when i was in the strathclyde uni in Glasgow,Scotland about 20 yrs ago.
@fredstone5052
The electric guitar at the start combined with michael stipes voice is superb... Then the drums and bass guitar kick in ... and then ...
HA!
(i love it)