“I remember thinking, ‘I’ll show them – they don’t realize they made a mistake.’ It’s not just the wins, it’s the determination you build from the losses”: Tommy Thayer’s junior high school disappointment fired him up for success with Kiss

Though he wasn’t the first, Tommy Thayer is Kiss’ longest-tenured Spaceman. So there’s an argument to be made that, without his 23 years of service, they wouldn’t have made it to the end of the road – but Thayer humbly waves it away.

“It’s just exciting to be in the mix,” he tells Guitar World. “I’ve never considered myself to be in the rarified air of the players I grew up emulating. To be part of the history of one of rock’s greatest bands of all time is a nice feeling. It really doesn’t get any better than that.”

Since Kiss halted touring operations in December 2023, Thayer has played it low-key, though plenty is happening behind the scenes. His passion for playing is as fiery as ever – and he has thoughts on how things have changed since he found that fire.

“In today’s world, there’s too much information available on any subject, and it’s difficult to weed through it all; it’s confusing,” he says. “Go to the music store and try guitars; see what feels most comfortable in your hands.”

He adds: “I think it’s best to try new gear like amps and pedals in a band setting, or at least with other people playing, to get the best feel for what works. Borrow stuff from friends to try things out; that’s what I used to do.

“Listen to lots of music, and don’t be afraid to break the rules. Your tone and your style will evolve – that’s all part of the fun.”

What was the moment as a player where you truly felt you found your sound?

“When we started Black ’N Blue. Before that, I was trying to figure out who I was stylistically and find my footing. It was the same for [vocalist] Jaime St. James. We played together in local bands in Portland from 1978 to 1981 – it felt like forever – before we finally locked into Black ’N Blue.

“I always loved straight-ahead, blues-based ’70s hard rock. I wasn’t interested in much else. I’ve always played a Gibson Les Paul. I was listening to Joe Perry, Ronnie Montrose, Jimmy Page, Scott Gorham and Brian Robertson from Thin Lizzy, Mick Ralphs, Billy Gibbons, Davey Johnston and Ace Frehley.

“It was such an exciting time. I wanted to emulate those bands and guitarists; I was consumed by it. One of the first solos I learned was China Grove by the Doobie Brothers. I stayed true to that style throughout the ’80s, which was a bit unusual for the time. Then Slash re-popularized the Les Paul in the late ’80s.”

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Was there a nuance in your style that set you apart from the other players of the day?

“I always gravitated toward a bluesier, more soulful approach to playing, with fewer notes. The guys I admired played simple, memorable guitar lines that were about the song as much as anything. Things changed in the ’80s – everyone was trying to play as fast as possible. I really don’t think that ’80s guitar style has stood the test of time very well.

“Like I said, I had an infinity for the ’70s guitarists, who were second-generation players following in the footsteps of Eric Clapton, Jeff Beck and Jimi Hendrix. Classic early ’70s hard rock like Mott the Hoople and Slade inspired me. They played and wrote simpler, hooky musical lines and amazing songs.

“By the late ’70s I loved Edward Van Halen – but for some reason I didn’t want to play that way, like most everyone in the ’80s ended up doing.”

So shred guitars and wild gear never appealed to you?

“Shredding never appealed to me. I was always a traditionalist; I took a simpler approach to guitar. A year after I left high school I found a great-sounding Gibson LP Custom in The Oregonian classified ads. I brought it home and plugged it straight onto my new 50-watt Marshall I’d just bought; the 100-watt would come later!”

You mentioned Slash bringing the Les Paul back – but you deserve credit, too.

“By the mid ’80s, Gibson Les Pauls were completely out of vogue. You could go into any second-hand guitar shop like Howie Hubberman’s Guitars R Us in Hollywood, and buy ’70s Les Paul Deluxes and Customs for under $500. Which I did! Thanks, Howie!”

Did you feel comfortable in the ’80s shred era?

“I naturally stuck with my playing style. Honestly, changing it was never something I considered. Blues-based rock guitar never goes out of style. It worked out well for me, obviously, because that was the type of guitar player Kiss wanted when I joined 23 years ago. Then after the reunion tour they wanted to stay with the original classic sound – and look – from the ’70s.”

You’d known the Kiss camp for a long time by the time you joined. Tell us about your first recording session with Kiss for 1989’s Hot in the Shade.

“It was in 1989, before I was in the band. Gene had been producing Black 'N Blue and eventually asked if I’d be interested in writing for the next Kiss album. I went over to his place, and we sat down with a couple of guitars and wrote two songs. I remember recording demos for The Street Giveth [and the Street Taketh Away] and Betrayed at Cherokee Sound in Hollywood.

“We used a drum machine. I played the guitars with Gene on bass, and we both sang. Ultimately, both songs made the album. Instead of re-recording everything, Gene decided to keep parts of the demo, with Eric Carr laying down real drums and Bruce Kulick redoing the electric guitars and solos.

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“Gene kept the vocals, background vocals, and my acoustic guitar from the demos. I probably used my ’73 Wine Red Les Paul Deluxe. I remember Lenny Kravitz was in the next studio and him borrowing that guitar.”

What were the conversations like about you joining Kiss?

“I remember Gene saying, ‘You need to start growing your hair again.’ That was the discussion! There wasn’t much said; they needed to do something because it was becoming impossible for the band to move forward at that point.

“I jumped in and did the best I could. The playing part came easily, but stepping into that role and meeting the expectations that came with it was what made it challenging. To be honest, it was tough at first – a lot of anxiety.”

How did your tone evolve to where it is today?

“When you’re young and experimenting, it takes time to figure out what you don’t want, to get to what you do want. In the old days, getting distortion was a challenge. Even the old Marshalls sounded loud but too clean. You would have to find a distortion pedal to get a sound.

“The problem today is that with modern amps and pickups, there’s too much gain available. Most people don’t realize that it makes the sound smaller. I’ve always tried to find that sweet spot that breaks up smoothly and warmly, but not too much.

“On many of the records we all grew up loving, the guitars were recorded with smaller combo amps like Fender Deluxes. Jimmy Page recorded the first Led Zeppelin through a Supro combo amp with two 10-inch speakers.

“I’ve been using Hughes & Kettner’s amps since 2007; I’ve A-B’d them in the studio against great-sounding Marshalls, and they always sound a little bit better.

“But at the end of the day, the inspiration for how my guitar should sound comes from the songs themselves. When you’re playing classic Kiss tunes, the tone needs to fit the spirit of the band playing in arenas and stadiums – big, loud, and over the top.

You’re over a year removed from Kiss’s last show. Is there anything you’d change with how the band handled it?

“I was happy with how we wrapped up the End of the Road tour; I felt proud to be together with those guys for the end of 50 years of touring. It turned out to be an incredible five-year journey that just kept going and going – ups and downs, highs and lows. It was like a rollercoaster at times, but we made it.

“Right now, we’re putting the final touches on a multi-part documentary that’ll be a must-see. A camera crew followed us throughout the entire last year of the tour, filming us warts and all. We’re hoping it’ll be out later this year.”

What’s life been like since that last show?

“I’ve actually been super-busy. We’ve got a lot of things in the works. I’ve been traveling more than ever this year. I’ve been writing a lot lately, too, not with any particular project in mind, but just for the sake of creating.

“It’s been a great way to explore new ideas, collaborate, and experiment without any pressure or expectations. It’s about the process itself. It allows me to clear my head and get lost in the moment.”

Do you keep up with new players and music?

“You’ve probably seen Grace Bowers – she’s a phenomenal guitarist with a great vibe and look as well. A couple of years ago, I reached out to her, just to let her know I liked what she was doing. I really wanted to encourage her because she truly stood out.

“She and her friends came to our show in Nashville and we met in person. She told me that the first guitar solo she ever learned was Detroit Rock City.”

Has any new gear that recently caught your eye?

“The technology in guitars, and particularly amps, has evolved a lot over the years – but at the end of the day, it comes down to a great guitar into a great amp: simple. I’m always interested in checking out new gear here and there that can push the boundaries of my sound.

“I only use minimal effects during my ‘rocket’ guitar solo, so having the right effect to make it sound ominous is good. I use a Boss Super Chorus pedal and Super Octave pedal for that. It’s all about finding a balance between traditional gear that gives you that raw, live energy with a touch of new tech to make it shine a bit.”

Looking back, what’s the biggest mistake you made as a player?

“I honestly don’t regret any mistakes as a player or think I’d do something completely different. Things have worked well for me. I remember the first band I was in tried out for the junior high talent show and we didn’t make it. Another band that wasn’t any better made it.

“I remember thinking, ‘I’ll show them – they don’t realize they made a mistake.’ So it was that attitude of perseverance that pushed me along the way. I didn’t realize I had that quality until I was looking back years later.

“It’s those moments that light a fire under you to keep pushing forward. I think that’s what’s important – not just the wins, but the determination you build from the losses.

“Guitar is such an expressive instrument. It never gets old. Sometimes you realize you’ve been playing a small part of a song wrong forever; you stumble across the right way and you think, ‘That’s cool!’

“Even after all these years with Kiss, I’m still learning and growing. I look forward to pushing on.”

How do you hope to be remembered as a guitarist?

“I hope to be remembered for being true to the music, bringing intensity, and creating moments that got people to feel something. This kinda sounds like the end, but it’s not – there are exciting new things starting to happen, new stories to tell, and new experiences ahead. I can’t wait!”