Some concerts are destined to be classics. You know it as soon as you hear them. The performances, the songs, the attitude converge in such a way that the result truly represents what the artist is all about.

That's the feeling I had when I finished listening to the Kiss Symphony: Alive IV CD. And after seeing the Kiss Symphony: Alive IV concert film, it's safe to say the DVD on which it is based is already a classic in the Kiss catalog.

A special theatrical version of Kiss Symphony: Alive IV was presented in High Definition at Regal Entertainment Theatres in 21 markets across the country. I attended the screening in Tampa, Florida.

The film opens with videotape of Gene and Paul at Melbourne Symphony Orchestra conductor David Campbell's home. The three of them are discussing plans for combining the sounds of Kiss and the symphony. The audio for this part - and for the rest of the pre-show, behind-the-scenes videotape - is often difficult to understand. It was as if the person who mixed it didn't take into account how it would sound through a multi-speaker movie theater audio system.

Skipping ahead to February, we watch Kiss arrive at the airport in Melbourne. Three days before the show, orchestra members see the charts for the first time, and they have their first rehearsal with Kiss. It becomes readily apparent to all involved that Kiss and the orchestra are having trouble getting in synch with each other. There are charts to revise and problems to work out.

Kiss makes a live appearance on Australian television two days before the show. Rehearsals continue and now the partnership between the symphony and Kiss has begun to gel.

One day prior to the show, a production rehearsal is held at the Telstra Dome. Orchestra members see the massive staging for the first time and probably wonder what they've gotten themselves into.

On show day, we see final preparations being made and feel growing anticipation among all the participants. "We're not really sure what's gonna happen," says Paul. But he knows there's only one way to find out.

The theatrical version of Kiss Symphony: Alive IV excludes Act One as found on the CD (Kiss alone) and begins with Act Three - Kiss playing with the Melbourne Symphony Orchestra. While the documentary portions of Kiss Symphony are shot on videotape, the concert itself is captured on film and it looks great!

Act Three opens with "Detroit Rock City." Wow! Kiss and the MSO rock hard! Kiss is firing on all cylinders and Peter is out to prove the Cat is still agile, pulling off quick fills while keeping the Kiss/orchestra juggernaut full speed ahead. It all culminates in a thundering crescendo of Kiss, symphony and pyro.

"King of the Night Time World" takes the emotional momentum of "Detroit Rock City," pushes it into overdrive and locks in the cruise control. The orchestra knows when to give Kiss a run for its money and when to pull back and let the band lead the dance. If this performance doesn't make you get in touch with your inner Paul Stanley and dance and strut around the room, you may very well be DEAD!

One of the cool things about the film is hearing longer versions of Paul's song introductions, as with "Do You Love Me?" "Peter will start this one," Paul announces and Peter does just that. The MSO allows this song to reach the emotional potential hinted at on the original studio recording. Every subsequent live performance without an orchestra will seem inferior. The orchestra provides a Spector-esque Wall of Sound. Its countermelodies are very, very cool!

Kiss brings the rock and the MSO brings the roll to the classic "Shout It Out Loud." If you've listened to the CD, you know Gene nearly flubs the "Don't let 'em tell you that there's too much noise" line, but the film editor was considerate enough to cut away just long enough to spare us the sight of Gene fighting to recover (though he did recover nicely).

Feedback resounding from the bowels of Hell announces the God of Thunder. Gene's bass solo is longer here than on the CD and culminates in bloody regurgitation. The result is reminiscent of Gene's photo on the back of Alive II, with blood spattered over his face and forehead. After flying to his perch high atop the lighting grid, the Demon gets down to business. Peter and Gene set the tempo slow and heavy - the way it should be - and the orchestra offers up a delicious ominousness to the Thunder God's feast. The end of the song is punctuated by a pyrotechnic thunderclap, like the crack of Lucifer's hellish whip. And then it was dark...

"Love Gun" is next, and Paul flies into the audience amidst a pyrotechnic barrage. Shots of Paul out on the mini-stage are well balanced with shots of the orchestra and shots of Tommy, Peter and Gene on the main stage.

"Black Diamond" has always been a muscle car, but this time it's burning Melbourne Symphony nitro. Pete flips the switch, and they're off! The cameras capture band, orchestra and audience in full frenzy all the way through the finale, as Peter's drum riser levitates and spinning pinwheels rain sparks down on the stage. The bombs detonate, and Paul bids the audience goodnight.

When the lights come up, Kiss returns to the stage and introduces David Campbell. The Melbourne Kiss contingent shows him their appreciation.

The Australian Children's Choir takes the stage and Kiss and the MSO ease into "Great Expectations." It's great to hear this song finally performed live - and with a children's choir and orchestra to boot! My one criticism here is the same as with the CD: the choir should be a little stronger in the mix. Still, this performance is a great and unique part of this great and unique show. Gene and Paul exchange smiles with some of the choir members - kind of sweet. The opportunity to perform with Kiss in front of such a big crowd was certainly an amazing experience for those kids, and Kiss gives them time to take in the moment and the audience's appreciation. I couldn't help but smile.

Since they'd already done most of Destroyer, it would have been unexpected and very cool if Kiss had done "Flaming Youth" instead of "I Was Made For Lovin' You." But the Dynasty track was a big hit in Australia, so it was a required part of the set list. I think this is the weakest performance in the show, but it's still well done.

A minor equipment malfunction threatens to upstage Paul as he introduces the last song. The top of his microphone stand has loosened, and the business end of his microphone is pointing toward the floor. "My mic needs Viagra!" says Paul and adds, "I'm more excited than that!" A tech rushes in to adjust the mic stand and Paul continues his buildup to the rock and roll national anthem.

"Rock and Roll All Nite" shows Kiss and the MSO just as visually and sonically energetic as they were stomping into "Detroit Rock City." The band's signature song is a rollicking, rolling, 4/4, down-on-the-floor, ready-to-score meeting of black tie and black leather (as Paul would say) drenched by a cloudburst of confetti. Orchestra members grin as they rip through the song. Perhaps it's a sign of relief that this huge undertaking has worked out so well. Perhaps they're overcome by the spirit of Kiss-style rock and roll. Perhaps it's both. Whatever the reason, this experiment at the bottom of the world has undoubtedly boosted enlistment in the Kiss Army and reinvigorated those who have served for years. Paul's call-and-response gets the audience revved even higher and - with a second shot of confetti into the heavens - the final charge begins.

The band and orchestra reach the end of the rock and roll national anthem and as they linger on the final, frenzied note, Paul holds his guitar overhead - part conductor's baton, part rock and roll sacrifice, part dynamite plunger. Gripping the guitar neck like a baseball bat, he swings the body down to the stage, triggering what may be the largest battery of rockets, mortars, concussion bombs, black powder, TNT, C4, antitank mines, Daisy Cutters, Bunker Busters and, perhaps, surface-to-air missiles ever assembled in what once was, but undoubtedly no longer is, a domed building.

CURTAIN CALL - Kiss brings the MSO and the Australian Children's Choir out on stage to take a bow and receive the adulation they all so richly deserve. David Campbell appears, and Paul expresses the band's gratitude to him for making the whole event possible. Many orchestra members grab guitar picks off the mic stands and toss them to people in the audience. Tonight, these classical musicians are rock and roll stars.

Cameras behind the stage catch Kiss heading back to their dressing room. Gene approaches and, as usual, he's not at a loss for words. Among other things, he tells us that Kiss has the most gold records of any American band in history. "The Rock and Roll Hall of Fame," he says, "can kiss my a**."

As the credits roll, cameras capture the responses of orchestra members backstage. Smiles and laughter abound. They were faced with a new, unfamiliar challenge and rose to meet it. The pride and sense of accomplishment are evident. This night will be with them for a long, long time.

Next up in the theatrical version of Kiss Symphony: Alive IV is Act Two - the acoustic set with the Melbourne Symphony Ensemble. "Beth" bridges the full-throttle bombast of Act Three with the acoustic set. It's great to finally hear this song with live orchestration. Peter is clearly thrilled to be back with the band, and the crowd welcomes him enthusiastically.

Gene, Paul and Tommy return to the stage for "Forever." Peter plays a second, smaller drum kit positioned on a low, wheeled riser just in front of the ensemble and just behind the other Kiss members, who are seated on stools. It feels like Kiss in a coffeehouse! It's strange to see Gene, Paul and Tommy performing in costume and sitting down Š and yet it works!

Kiss and the symphony ensemble really shine on "Goin' Blind," "Sure Know Something" and "Shandi." Kiss sounds like they've been doing this Unmasked track for years! As I watched the acoustic set, the stripped down presentation reminded me just what great songwriters Gene and Paul are. This foundation of quality is why Kiss endures, and it's this bedrock beneath the makeup, costumes, bombs and image that critics rarely, if ever, acknowledge. But the fans do, and that's what counts.

When the film was over and the theater lights came up, I was left with two very strong feelings. First, I couldn't wait to buy the DVD. Second, I had a renewed respect for Paul and Gene. They really stuck their necks out with this Kiss Symphony idea. The tickets were sold and the planning set in motion before the band ever got together with the MSO for a single rehearsal. If Paul and Gene - along with David Campbell - hadn't been able to get the orchestra and the band to mesh into one synchronized entity, this show would have been a spectacular disaster. What Paul and Gene did took guts and great determination. I'm inspired and in awe.

Experiencing Kiss Symphony on a movie theater screen - and through a movie theater sound system - was fantastic! The sound was loud, but the nuances were still audible. The picture was sharp, colorful and bigger than life - just like the band! Most all seats were taken and though it would have felt more like a Kiss concert if people had been singing along and applauding, I'm glad they didn't. It allowed me to enjoy the film to its fullest. Watching the DVD at home on my plain old 27" television just isn't going to cut it!

One aside before I wrap up this review: much has been written on fan sites and message boards about how Kiss - and particularly Gene - often appears to be driven more by greed than by a desire to please the fans. I have no interest in opening that can of worms here. I just want to say that, as I was watching Kiss Symphony: Alive IV, I felt that Gene and Paul had given me - a fan since 1978 - something really cool and unique. I have no desire to buy the Kiss coffin or Kiss condoms or yet another greatest hits compilation. I've been holding out for live Kiss. Beneath all the merchandising, Kiss's roots are in music. I don't want their collector coins or glow-in-the-dark cheese grater. But I'll gladly hand over my money in exchange for the Kiss Symphony: Alive IV DVD. They heard Š and they obeyed.

So there you have it! Kiss meets the Melbourne Symphony Orchestra and together they lay waste to the tens of thousands of eager victims in the Telstra Dome. This concert film does not reflect the Alive IV we were promised for the last few years and awaited for even more. It's different... and better! Kiss doesn't give us what we expect; they give us what we want - a memorable rock and roll party; a black leather and black tie affair. I wanted the best, and I got it!

(C) 2003 Paul J. Watkins. All Rights Reserved.

Paul J. Watkins is a writer and recording artist in Tampa, Florida. He welcomes your feedback at poet@pauljwatkins.com.