Stipe possesses a baritone vocal range.
His role in the songwriting process for R.E.M. was to write lyrics and devise melodies.
While each member was given an equal vote in the songwriting process, Peter Buck has conceded that Stipe, as the band's lyricist, could rarely be persuaded to follow an idea he did not favor.
Stipe sings in "wailing, keening, arching vocal figures" that R.E.M. biographer David Buckley compared to Celtic folk artists and Muslim muezzin.
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.
Stipe commented in 1984, "It's just the way I sing.
If I tried to control it, it would be pretty false."

"That voice.
It's an extraordinary voice", said U2's lead singer Bono in 2003. "
I often tell him I think he's a crooner, and he doesn't like that very much.
But it is sort of one part some sort of Bing Crosby '50s laid-back crooner, and one part Dolly Parton", he added, laughing.

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, many early R.E.M. songs had definite lyrics that Stipe wrote with care.
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."
In the mid-1980s, as Stipe's pronunciation while singing became clearer, the band decided that its lyrics should convey ideas on a more literal level.
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 ..." After what Stipe has referred to as "The Dark Ages of American Politics [The Reagan/Bush Years]", R.E.M. 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."
While Stipe continued to write songs with political subject matter like "Ignoreland" and "Final Straw", later albums have focused on other topics.
Automatic for the People dealt with "mortality and dying.
Pretty turgid stuff", according to Stipe; Monster, meanwhile, critiqued love and mass culture, and Reveal dipped into mysticism.
Stipe possesses a baritone vocal range. His role in the songwriting process for R.E.M. was to write lyrics and devise melodies. While each member was given an equal vote in the songwriting process, Peter Buck has conceded that Stipe, as the band's lyricist, could rarely be persuaded to follow an idea he did not favor. Stipe sings in "wailing, keening, arching vocal figures" that R.E.M. biographer David Buckley compared to Celtic folk artists and Muslim muezzin. 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. Stipe commented in 1984, "It's just the way I sing. If I tried to control it, it would be pretty false."
"That voice. It's an extraordinary voice", said U2's lead singer Bono in 2003. "I often tell him I think he's a crooner, and he doesn't like that very much. But it is sort of one part some sort of Bing Crosby '50s laid-back crooner, and one part Dolly Parton", he added, laughing.
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, many early R.E.M. songs had definite lyrics that Stipe wrote with care. 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." In the mid-1980s, as Stipe's pronunciation while singing became clearer, the band decided that its lyrics should convey ideas on a more literal level. 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 ..." After what Stipe has referred to as "The Dark Ages of American Politics [The Reagan/Bush Years]", R.E.M. 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." While Stipe continued to write songs with political subject matter like "Ignoreland" and "Final Straw", later albums have focused on other topics. Automatic for the People dealt with "mortality and dying. Pretty turgid stuff", according to Stipe; Monster, meanwhile, critiqued love and mass culture, and Reveal dipped into mysticism.
Michael Stipe