While initially intended only to provide vocal interjections, KRS-One developed a full rap that aligned with the song's critique of radio programming.

Stipe, a fan of Boogie Down Productions' Ghetto Music: The Blueprint of Hip Hop, noted that KRS-One's contributions were fueled by shared frustrations with the radio industry.

Other guest performers on the track include Peter Holsapple on additional bass, Kidd Jordan on tenor, alto, and baritone saxophones, and strings arranged by Mark Bingham.

An alternate version of the song, the Tower of Luv Bug Mix remixed by Herby "Luvbug" Azor, was included on a promotional CD single.

[11] Stipe described "Losing My Religion" as "a classic obsession song", explaining that it explores themes of unrequited love, though he was quick to deny any autobiographical connection.

Instead, Stipe suggested the song was written as an extension of "World Leader Pretend" and composed from an "everyman" perspective, reflecting on significant revelations and the changes they bring.

Another popular theory that circulated after the song's release was that it reflects the perspective of Mark David Chapman during his assassination of John Lennon.

[12] Nevertheless, Stipe has maintained that the song's themes are broader, drawing on universal experiences of vulnerability and obsession rather than specific personal or historical events.

[11] "Low" features an organ played by Mike Mills as its musical foundation, described by Stipe as evoking the atmosphere of a funeral parlor.

Its instrumentation includes Mills on organ, Berry on congas, Buck on guitar, Holsapple on bass, and additional string arrangements by Bingham.

Buck acknowledged the influence of the Beach Boys on the track, citing their albums Smiley Smile and Wild Honey as sources of inspiration during the recording process.

Despite this influence, Stipe stated that he was not a fan of the Beach Boys, describing his limited experience with Pet Sounds as unconvincing, even as he acknowledged Brian Wilson's talent.

The piece, described by Peter Buck as an "end title sequence", was conceived to evoke the atmosphere of a film's closing theme.

Stipe offered a different visual interpretation, imagining Buck on a grand stage, surrounded by classically trained musicians, playing guitar as the music swirls around him "like the ocean."

Stipe chose not to write lyrics for the track, explaining that imposing words would limit its interpretive possibilities, reducing its emotional scope.

He noted a preference for the intimacy of smaller string arrangements over the grandeur of large-scale orchestral references, adding that Endgame avoids the pretentiousness often associated with rock acts incorporating classical elements.

[16] Musically, the song features a 3/4 waltz-time signature section in its introduction and middle,[17] which Berry described as part of the band's effort to keep their recordings interesting through experimentation.

"[16] "Belong" features spoken word vocals by Michael Stipe, a stylistic choice previously explored on the alternate take of "7 Chinese Bros." titled "Voice of Harold".

[18] "Half a World Away" opens with Michael Stipe singing the line, "This could be the saddest dusk I've ever seen," over a foundation of organ, acoustic guitar, and mandolin.

While the song's lyrics suggest a longing for a loved one, Stipe explained that "Half a World Away" is a "complete fabrication", drawn from a mixture of personal knowledge, stories he heard, and things he saw on television.

Musically, the track features a galloping bass line and a blend of real and synthesized strings, creating a melody that has been compared to the sound of the Moody Blues by Rosen.

Mike Mills provided organ, Pierson contributed backing vocals that are barely audible in the mix, and Keane added pedal steel guitar.

Stipe employed what he called a "projectile vomiting" approach to lyric writing, using stream-of-consciousness techniques and sketching symbols, including an "Indian head and an arrow", as visual cues during the process.

Buck explained that the riff was divided into sections to create verses of varying lengths, and a single additional chord was introduced for the chorus at Stipe's request.

Stipe wrote the lyrics through a process of working out lines on paper, a development Buck described as surprising given the song's minimal starting point.

"[26] In the Los Angeles Times, Richard Cromelin observed that the album diverged from the sound of Green, noting that it "draws a line between the bright polish of its radio-ready pop songs and the impressionistic allure of its more shadowy tracks.

"[27] Mark Cooper of Q agreed, highlighting Stipe's vocals and the harmony singing while describing the album as a "brooding departure [that] offers them at their most reflective, challenging and intriguing".

[29] Terry Staunton of NME highlighted the album's eclecticism, noting it "veers from the playful exuberance of 'Shiny Happy People' to the desolate beauty of 'Country Feedback'".

"[28] Parke Puterbaugh of Rolling Stone praised the record for achieving a balance between new mainstream appeal and the band's original identity, writing, "R.E.M.

[31] He noted a shift from political themes toward introspection, remarking, "This is an album of sweet melodies and tender words", with Mike Mills taking a larger role, as exemplified by his lead vocals on "Near Wild Heaven".