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The Rolling Stones' most malevolent song is now indelibly linked to murderous riots and racist bikers. Of course, Altamont was merely a reflection of this song's apocalyptic politics. Bill Wyman's trembling bass and Charlie Watts' percussive lightning conjure up a fire-and-brimstone typhoon of blood, guns, and doom. Keith Richards' hands are covered in barbed wire and Mick Jagger laces together unremitting images with no concrete objects. They therefore connect all of our greatest psychopaths-- assassins, street fighters, My Lai soldiers-- into one swelling throng. Scalding harmonica and torrential guitar scatter like shrapnel, and Merry Clayton's feverish backup summons annihilationist gospel and risqué teen pop. In the last few seconds, Jagger proposes that, well, "Love, sister, it's just a kiss away." But no one actually believes that. There's a reason the Stones aren't known for their romanticism, and these sinners can't escape the damnation of their own hell. --Alex Linhardt
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