Kiss have announced that their upcoming Kiss Kruise: Land-locked in Vegas, taking place between November 13 and 15 at Virgin Hotels Las Vegas, will feature a historic Ace Frehley All-Star Tribute.

The one-night-only celebration will see Gene Simmons, Paul Stanley, Tommy Thayer, and Eric Singer come together with special guests to honor the memory and legacy of the late Frehley, their founding lead guitarist.

These guitarists and artists – whose names have not been announced yet – were personally handpicked by the band and will be supported by the Ace Frehley Band. Furthermore, each current member of Kiss has personally selected and will individually perform a song from the Spaceman’s vast repertoire as part of the tribute.

“Another year of the Kiss Kruise experience and the best one yet is on the way. Everything we’ve learned at sea and on land over the past years is going into making this the ultimate weekend with us,” comments Stanley.

“We can’t wait to be back together with the Kiss Army and Navy from around the world for more killer performances, incredible artists, events, and exclusive experiences you won’t find anywhere else.”

In addition to the Ace Frehley All-Star Tribute, fans can expect two unmasked Kiss sets – one acoustic and one electric – and ’80s nostalgia galore, with performances from the likes of Bruce Kulick, Slaughter, and Night Ranger.

Frehley had previously joined his former bandmates during the Kiss Kruises, most notably in 2018, when he performed four songs with the band – 2000 Man, New York Groove, Nothin' to Lose, and Rock and Roll All Nite, with Kulick also on guitar.

Following his death on October 16 last year, Kiss also paid tribute to their late guitarist during an “unmasked” show at last year’s Kiss Kruise. It also happened to be their first live performance in nearly two years, following the final show of their 2023 farewell tour.

For more information about this year’s Kiss Kruise, head to its official website.

Kiss guitarist Tommy Thayer has said there is still a future for the band, despite the fact they've officially retired from touring – and that could include new music, additional live performances, and more.

The glam rock giants supposedly finished for good with a blockbuster show at Madison Square Garden in 2023, which brought their exhausting End of the Road tour – their second farewell tour – to a close.

Last month, however, they played two unmasked concerts at a Kiss fan event in Las Vegas. Their unplugged performance was preluded by a candlelit tribute to founding lead guitarist Ace Frehley in the wake of his tragic passing, and there was a reunion of their unmasked line-up as Bruce Kulick made a special appearance during their electric set.

Speaking to MusicRadar, Thayer believes they could still have quite a busy future.

“There’s a lot in the works for Kiss moving ahead,” he confirms. “We’re not touring anymore, of course, but there’s still a ton happening behind the scenes.”

More live shows, it seems, are on the menu, with the guitarist saying that “the Vegas event was fantastic, and it really exceeded our expectations.

“You could feel that everybody was having a great time. I know the fans absolutely loved it, and I can definitely see it happening again.”

He isn’t ruling out more activity beyond that. He’s already opened up about the avatar versions of the band are in the works, and while reuniting in the studio isn’t completely out of the question, he admits it isn’t a certainty.

“As for another Kiss record, I’m honestly not sure yet,” Thayer says. “It really depends on where things go and how everything evolves over the next year or two. But I do feel like we all still have a lot of great ideas and a desire to keep creating and doing all the things we love doing.”

If rock n’ roll has taught us anything, it’s that farewell tours are very rarely a last goodbye. Just look at Mötley Crüe, who have welcomed John 5 into the band and released new music, since their retirement party in 2015.

Elsewhere, Gene Simmons has apologised for his comments that Ace Frehley died from “bad decisions,” having previously also said that he wished he had shown him more tough love in their heyday.

Having wrapped their second farewell tour in 2023, Kiss has announced a one-off unmasked show in November to celebrate the 50th anniversary of the Kiss Army fan club.

The show, taking place at a weekend-long event at Virgin Hotels in Las Vegas on November 14-16, will see Bruce Kulick return to the band, having spent the best part of 12 years in the glam rockers, between 1984 and 1996.

An email sent to fans promises “a special live performance from former KISS member Bruce Kulick, along with other special guests, activities, exclusive experiences, and more.”

Kulick and the man he replaced, Mark St. John, are famously the only two Kiss members to have never donned make-up during their time in the band. The former Meat Loaf and Grand Funk Railroad guitarist is fondly remembered for his multi-album contribution during an experimental time for the band.

Speaking to Guitar World last year, Kulick said he’d “always missed being in Kiss,” despite having been left out of both the band's farewell expeditions, in 2000-01, and 2019-2023 respectively. Tommy Thayer has been Kiss guitarist since 2002.

“I’ve made peace with not being included in Kiss’s End of the Road,” Kulick says. “That said, no, they never called me... but if that meant being the Spaceman like Tommy, I wouldn’t want to do it.”

By his own admission, Kulick has seen a revival of his Kiss era in recent years, believing it’s not just the music that moved them – the guitars I played also matter”. His comments came as he launched a new '80s-style line that tips its hat to his eight years in the band.

Kulick's namesake axes hark back to his employment of an ESP M-1 guitar while in Kiss. It was a move that came after Paul Stanley wanted to create a clear distinction between Kiss' make-up and non-make-up eras.

“Gibson guitars represented vintage makeup-era Kiss guitars,” he told Guitar World. “But in early December 1984, Paul [Stanley] said, 'You're the new guitarist of Kiss,' and wanted me to know the vintage material and be part of the new generation of guitar players. I was keenly aware of the balance between the makeup years and my non-makeup years. ESP would bring me all these options!”

Despite his tenure in the band coming to an unceremonious end, he insists that he wasn't fired.

“I’ve always looked at it as I was never fired from Kiss; I was left behind for a wildly successful commercial venture,” he believes. “You don’t have to be an accountant to understand Paul and Gene.”

Ace Frehley has recently made a similar claim, although under slightly different circumstances: he alleges Kiss lied when they said he was fired in both 1982 and 2002, insisting he quit, and Gene Simmons wanted him to reverse his decision.

Of course, this isn’t the first time Kiss had returned to the stage after their final curtain had supposedly been drawn – Kiss were touring again just two years after their first farewell show wrapped. Tommy Thayer, though, who played across Kiss’ final two decades, has hinted that their long-term future exists in the virtual realm.

The news comes as Gene Simmons has postponed 17 of the solo shows during which fans had the chance to be the Demon’s roadie for the day, for the cool sum of $12,495.

A statement provided by Christina Vitaglano, who handles Simmons' backstage VIP fan experience packages, says the shows have been put back “until early 2026.”

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.”

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.

“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!”

Tommy Thayer remains the longest-serving Spaceman in Kiss, but his relationship with the glam rock giants extends way before the time he officially donned the iconic outfit for the first time in the early 2000s.

Speaking about how he made the transition in a new interview with Guitar World, Thayer admits there was little discussion before he first stepped out on stage in his new role... save for a crucial request from Gene Simmons.

Thayer made a name for himself with a lyrical, melody-first approach to guitar playing and songwriting during the 1980s, a decade dominated by incendiary fretboard bothering. But Thayer wasn't going to abandon his influences in favor of such a trend.

His chops and style eventually put him in touch with Gene Simmons, who would go on to produce Thayer’s previous band, Black ’n Blue. In 1989, Thayer was working with Simmons again, this time demoing material for Kiss’ album Hot in the Shade.

“Gene had been producing Black ’n Blue and eventually asked if I’d be interested in writing for their next album,” Thayer tells Guitar World. “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] and Betrayed at Cherokee Sound in Hollywood.”

Thayer’s creativity shone through and both songs made the cut, with much of the demo recording – including vocal and acoustic guitar parts – making it on to the studio version proper.

Then, from 1994, Thayer was drafted in to work on the book Kisstory and later helped Ace Frehley relearn parts from the band’s 1970s discography. Thayer was proving indispensable, and as uncertainty around Frehley’s future in the band grew, it felt like a matter of time until Thayer made the step up.

First, he lay in the wings as an emergency guitarist, but it quickly evolved into a full-time gig – and the change came naturally.

“There wasn’t much discussion,” Thayer goes on. “It was more about stepping in and filling the spot. I remember sitting with Gene and him saying, 'You need to start growing your hair again...' That was the discussion! [laughs] They needed to do something because it was becoming impossible for the band to move forward at that point.”

Thayer, a Kiss expert, felt tailor-made for the role. But that didn’t make joining any less daunting.

“I jumped in and did the best I could,” he responds when asked if the size of the task made him nervous.

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

Tommy Thayer’s rise to six-string stardom largely occurred throughout the 1980s – an evolutionary period for guitar music, which gave way to a new wave of guitar gods and playing styles that favored speed, theatrics and hot-rodded instruments.

For an up-and-coming Thayer, though, shred guitars and wild gear never truly appealed to him, and he instead stayed true to the more traditional, blues-rock-informed approach that would eventually define his sound.

In Thayer’s mind, it was a smart choice: the Kiss guitar player looks back on the 1980s scene in a new interview with Guitar World, and reveals he doesn’t think the shred music that was pioneered then – which saw people “play as fast as possible” – has stood the test of time.

When asked about what set him apart from the other guitarists on the scene during that period, Thayer reflects, “There’s no doubt I always gravitated toward a bluesier, more soulful approach to playing, with less notes.

“The guys I admired played simple, memorable guitar lines that were about the song as much as anything. Things changed in the ’80s, and 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.”

The 1980s was a decade that was dominated by the likes of Eddie Van Halen, Joe Satriani, Yngie Malmsteen, Mick Mars, George Lynch and more, with the late Randy Rhoads, Warren DeMartini and other shred icons also shaping a movement that started as the 1970s drew to a close.

Expanding on his point, though, Thayer says he felt a stronger draw to the guitarists that preceded his time – second-generation players who championed quality over quantity, and whose classic blues rock music really struck a chord with him.

“I had an affinity for the ’70s guitarists, who were second-generation players following in the footsteps of Eric Clapton, Jeff Beck, and Jimi Hendrix,” he goes on. “That’s what drove my passion and desire to want to do it.

“I liked classic early ’70s hard rock like Mott the Hoople and Slade, that’s what 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 necessarily want to play that way, like most everyone in the ’80s ended up doing.

“Shredding never appealed to me. I was always a traditionalist and took a simpler approach to guitar. I naturally stuck with my playing style instead of trying to change it in the ’80s. Honestly, it was never something I considered. Blues-based rock guitar never goes out of style.”

Bruce Kulick has opened up on his departure from Kiss, and explained why he wasn't all that fussed when he never received an invite to rejoin the band in the early 2000s.

Over the years, Kiss has recruited a number of electric guitar stars, from Mark St. John to Thayer and Vinnie Vincent, whose controversial guitar solos drove Gene Simmons and Paul Stanley mad.

Kulick’s is another name that can be found on the list, but his stint with the band was particularly unique: he was a key part of Kiss’ no-makeup era and stuck around when the band began to explore a grungier sound in the ’90s.

However, Kulick – whose time in the band came to an end when the first Kiss reunion rolled around in the mid-’90s – and his contributions are often under-appreciated, and he wasn't invited to take part when Kiss played their 'End of the Road' farewell shows.

That wasn’t the first time he wasn’t invited back by Kiss, either. When their first reunion fell through, Simmons and Stanley employed Tommy Thayer as their guitarist, and decided against re-hiring Kulick.

But as Kulick explains in the new issue of Guitar World, he’s not all that bothered, and while he misses being part of the band – and would have liked to have been a part of the farewell shows – he wouldn’t have wanted to compromise on who was as a player to get back in.

“I’ve made peace with not being included in Kiss’s End of the Road,” Kulick says. “That said, no, they never called me.

“I’ve always missed being in Kiss, but if being in Kiss meant being the Spaceman like Tommy, I wouldn’t want to do it,” he continues. “And if being a part of the final shows meant I had to ask to be there, I’d rather stay home. I guess that’s why Ace respects me and has always been kind to me.”

For Kulick, donning the Spaceman makeup was never an option, and the fact he would have been required to do so had he returned means he’s not especially disappointed with how everything panned out.

“I’m not disappointed they didn’t ask me to be in Kiss again,” he explains. “To be in Kiss again, I would have had to be the Spaceman, right? If I had done that, I would have negated my entire non-makeup era.

“Tommy Thayer did a fine job playing Ace’s riffs with some swagger. He did the Spaceman well, but I never wanted to.”

To read the full interview with Bruce Kulick, head over to Magazines Direct to pick up the latest issue of Guitar World.

Tommy Thayer befriended Paul Stanley and Gene Simmons while his band, Black N’ Blue, toured as openers for Kiss on their Asylum road trip in the mid-’80s – but he couldn’t have known he was setting the stage for a future in the rock behemoth.

And when he lent his electro-acoustic licks to 1989’s Hot in the Shade – on Betrayed and The Street Giveth and the Street Taketh Away – he couldn’t have foreseen it would be the first of many Kiss adventures. 

When he took a job with Kiss in the mid-’90s, Thayer still couldn’t have dreamed it would lead to an ever-evolving role, which saw him become  tour manager, editor and producer of their longform video releases such as The Second Coming and The Last Kiss, and a session player for hire while recording 1998’s Psycho Circus.

That all led up to the most breathtaking moment of all: in 2003, he would officially wear Ace Frehley’s iconic Spaceman makeup on stage, leading to a 20-year stint that would see Thayer clock out as Kiss’s longest-tenured lead guitarist.

He’s now able to catch his breath after the conclusion of the band’s End of the Road farewell tour. Between the highs – which include packing arenas and stadiums – and lows – such as warding off armchair critics – Thayer looks back with his usual even keel.

”I think all Kiss guitar players have had their moments of importance and significance in the band,” he tells Guitar World. “Ace – obviously in the beginning – Vinnie Vincent, Mark St. John, and especially Bruce Kulick, who had an important role in the ‘80s/early ‘90s era of the band.

“I joined at a time when they needed somebody who could pick up the pieces and start a new run, so to speak. Sure, there was criticism. There always is, particularly in that case; but I felt like I’ve grown and evolved through the years. It’s worked out well for everyone.”

If Kiss, who have dominated rock ‘n’ roll for the last 50 years, truly are hanging up their studded platform boots, fans owe Tommy Thayer a lot. Despite what some say, there probably wouldn’t have been an end of the road to encounter without him.

Regardless, he remains humble and thankful first and foremost. Asked what he’ll miss most about being in the band he replied: “The camaraderie. We have this great team of people who have lived together and traveled together for years. Even though touring can be tedious sometimes, I’ll probably miss that the most.”

You’ve just wrapped one of the longer – if not the longest – tour in KISStory, and it’s the band’s final. You must be exhausted on so many levels. What were your emotions like as you rang out the final chords of Rock and Roll All Night at Madison Square Garden?

“I feel good, just unwinding and decompressing a bit. I’m happy and relieved that the tour went so well, particularly the final couple of months. But it was great.

“The New York takeover was done well and was our town to take. We’ve all done a lot to get Kiss where it is today. I felt especially proud for Gene and Paul, though – I really felt like it was their night.”

Was it hard to get through those shows knowing 50 years was about to end, especially for Gene and Paul?

“I’m sure they felt more emotion than anybody after a stellar touring career. I take it one show, one song at a time, so I wasn’t thinking about the finality of it all necessarily, until it was over. But again, I’m super-happy with how the band came to end this.”

Dialing back to when you first joined Kiss, when did it become real to you?

“It took a while, but once we started picking up momentum around 2008 and the shows were filling up and selling out, I knew we had something going. The chemistry was right – the proof is that we continued for another 15 years in packed stadiums and arenas.”

Once it became apparent that you were in Kiss for the long haul, what was the secret to this lineup’s success when others faltered? 

“I think life dynamics always evolve. As you grow, you change; and the dynamics and chemistry with people around you change. People grow in different directions. It’s really the timing of like-minded people with a certain chemistry that works, and that’s what’s happened with Eric Singer, me, Paul, and Gene the last 20-25 years.”

You knew Paul and Gene dating back to the ‘80s with Black N’ Blue and played a big part in the Kiss reunion. That must have helped, too. 

“I’ve been in the unique position of being a Kiss fan first, then my previous band’s involvement with Kiss in the ‘80s, then working behind the scenes with Kiss in the ‘90s, and then actually being in the band for a long while. It’s about building trust and respect and creating an environment that people are comfortable living, traveling, and working in.”

It’s now known you played guitar on Psycho Circus in secret; then you finally got to shine on Sonic Boom and Monster. What did it mean to you in retrospect? 

“With Monster, I had more latitude and the confidence to play more like me without getting too far away from what Kiss should sound like. What we wrote and recorded felt good – what we had on tape, so to speak – but the mix is where it got screwy. It would be nice to hear Monster remixed at some point.”

Those albums weren’t digested well then, but have become Kiss classics now, with your song from Monster, Outta This World, even being named a standout. 

“I don’t know if they’re classics yet. Pound for pound, some of those songs are as good as anything the band has ever done. But they’ve come later in the band’s career and haven’t had the years to seep into people’s consciences. And yeah, Outta This World is cool; I like the way it sounds, thanks!”

Kiss are often associated with Marshall amps and Gibson guitars, but that’s not all there is to your sound. What did your final touring rig look like?

“I’ve been playing Hughes and Kettner Duotone amps almost as long as I’ve been in the band; I think the fact that I continue to be happy with them for nearly 20 years says a lot.”

While Kiss is off the road for good, it lives on. You’ve been immortalized as an avatar, along with Paul, Gene, and Eric. Did that initially surprise you as much as the rest of us?

“It’s been interesting doing the avatars so far; it’ll take some time to get the imagery where we want it to be. I haven’t really thought about what it all means in the big picture, but with technology evolving as quickly as it is, there’s no doubt that this is the direction a lot of entertainment is going.”

Avatars aside, you’re playing better than ever and you’re the youngest member of Kiss. Where do you go from here?

“I’m not completely ready to retire yet; I have ideas and certainly options on the table. I’m not thinking of continuing to play in another band or that sort of thing – that doesn’t appeal to me. But I look forward to an exciting future, working hard and being a part of good things going forward.”

For a band like Kiss, it can't be easy upholding the moniker of 'The Hottest Band in the Land,' nor can it be easy to perpetually put on 'The Greatest Show on Earth.' Still, they've managed to do it.

Over the years, the various guitarists amongst Kiss's ranks – Ace Frehley, Paul Stanley, Bruce Kulick, Vinnie Vincent, and Tommy Thayer – have also evoked plenty of G.A.S. (Gear Acquisition Syndrome) through the use of some fantastic guitars.

Be it Frehley and Thayer's impressive cache of hare-brained Les Pauls, Stanley's bloodletting 'Cracked Mirror' PS-10, Kulick's presto 'Banana' M-1, or Vincent's Jackson Rhoads V, if you're a guitar aficionado, there's a lot to take in.

Through big chords, soaring solos, and a few bumps, bruises, and burns garnered along the way, Guitar World is taking a journey through just a few of the guitars that have defined Kiss over the years. Shield your eyes from the smoke, watch out for broken glass, and take cover from the rockets, and take in 10 landmark electric guitars that have defined Kiss's career.

1. Ace Frehley – 1973 Tobacco Sunburst Gibson Les Paul Deluxe

It's long been rumored that Frehley auditioned for Kiss with a late-'60s Gibson Firebird in nasty condition. Once he'd entered the Kiss fold, he reportedly recorded all of Kiss's debut record with an Ovation Breadwinner. But no matter: by February 1974, the Spaceman had found a gorgeous 1973 Les Paul Deluxe – which sported a dashing Tobacco Sunburst finish – at Manny's Music in New York City.

Frehley's first single-cut was fitted with mini-humbuckers when he purchased it. Seeking the classic '59 sound, however, Frehley quickly swapped them with a combination of full-sized DiMarzio Super Distortion/Dual Sound pickups. The '73 Les Paul was also fitted with Kluson double-bar tuners, a pancake body composed of four-ply maple and mahogany, and a three-piece maple neck with a rosewood fingerboard laid over it.

At some point, Frehley contoured the heel with a screwdriver, making it more comfortable for him until he all but retired the guitar in 1976. It's unknown if Frehley continued to record with the guitar thereafter, but considering what ultimately became of it, we'd wager it's rather unlikely.

2. 1976 Cherry Sunburst Gibson Les Paul Custom, aka "The Budokan Guitar"

While it's been rumored that Frehley's '73 Deluxe had been stolen, the truth is that he painted the guitar black on a whim, didn't like it, and then turned it into a double-cut. The result was that it was time for a new guitar. And so, back to Manny's Music Frehley went, this time nabbing a '76 Les Paul Custom off the wall. When Frehley first purchased the guitar, it featured a distinctive two-pickup look, but Frehley quickly added a 'dead' middle pickup, simply because he liked the look of it.

Once again, the stock humbuckers were discarded, with Frehley opting for DiMarzio Super Distortion pickups, as he felt they gave him a 'hotter sound'. Now brandishing the guitar that would become synonymous with the Kiss sound and aesthetic, Frehley hit the road for some of the largest shows of Kiss's career, sporting the guitar during performances in Japan (where it was dubbed his 'Budokan guitar'), Europe, and the U.S.

Interestingly, Frehley is said to have often used Stratocasters on Kiss records and even fed his Gibson into Fender guitar amps hidden under the stage while on tour. This would have left those poor stacks of 100W Marshall amps idle and very lonesome if true.

Frehley would use guitars modeled after his '76 Les Paul well into Kiss's reunion era and through to today. These days, for his signature guitar, Frehley has his kabuki-clad mug adorning the headstock, a stopbar tailpiece, Grover tuners, and a gorgeous, flamed maple top.

3. 1977 Black Gibson Les Paul Custom, aka "The Smoker"

Frehley first developed the idea for what became known as 'The Smoker' in 1976 and reportedly used a Black '76 Les Paul Custom. Ever the mad scientist, Frehley is said to have modified the guitar himself. 

While the guitar initially acted as intended, soon enough, the homemade electronics proved faulty. The Spaceman gave it a second go in '77, using yet another Black Les Paul Custom. This time, the guitar and its hot-wired innards held up, seeing that the '77 version stuck around through the '70s and into the early '80s.

Sure, it might have technically worked, but that didn't mean 'The Smoker' was remotely safe. To keep himself from being burned by the gobs of smoke spewing from the guitar's middle dummy pickup during his Shock Me guitar solo, Frehley installed a cardboard shield. It's worth noting that Frehley's smoking guitar returned during the reunion era, along with another insane guitar – a '57 Gibson Black Beauty, which shot rockets. We'll get to that one later...

4. Late '50s Gibson TV Les Paul, aka "The New York Groove Guitar"

As far as we can tell, the exact year of Ace Frehley's infamous New York Groove light-up guitar is unknown. But we do know that Frehley took what would now be considered a sacred guitar – a late '50s TV Les Paul – and had the face routed to hold upwards of 1,000 incandescent lights. 

Of course, this was an era before the advent of LEDs, so Frehley instead went with bulbs powered by a Ni-Clad battery pack, leading to a mostly reliable unit.

The guitar was the brainchild of Frehley, but instead of doing it himself, this time, he solicited the services of Milton Bradley toy designer John Elder Robison. The guitar first surfaced in 1979 while on the Dynasty tour and was exclusively used by Frehley when playing New York Groove, which featured on his 1978 self-titled solo record.

While generally reliable, the guitar wasn't always user-friendly, and the old-school lights often became red-hot, leading to burns. These days, Frehley still deploys an updated version of the guitar, now decked out with LEDs powered by an RC battery. It's also worth noting that John 5 – ever the Frehley fan – created his own version: with a Telecaster, of course.

5. 1957 Les Paul Black Beauty, aka "The Rocket Shooting Guitar"

It's a bit cringeworthy to think that a '57 Black Beauty was ultimately used in this way, but far be it from us to challenge the wisdom of one of rock music's most eccentric characters. Anyway, in Frehley's early rocket-shooting days, he would shoot bottle rockets from his headstock while tufts of smoke spewed from "The Smoker".

Eventually, that wasn't enough, leading him to push the proverbial envelope further. The most famous of his rocket-shooting Les Paul guitars would be this '57 Black Beauty.

Not that sound or accoutrements mattered much in this instance, but dig into the specs we shall – the Black Beauty "Rocket Shooting Guitar" featured classic Grover kidney-bean tuners, and Frehley's typical dummy middle pickup, surrounded by DiMarzio Super Distortions. This time, though, Frehley had Steve Carr design a double-barreled contraption that shot rockets at the ceiling of whatever venue he was playing at. Wild and crazy, indeed.

6. Paul Stanley – 1977 Black Ibanez PS-10

First and foremost, it's essential to get the facts straight on Stanley's Ibanez. Many often mistake the Starchild's guitar for an Iceman, but it's not. While the Iceman had existed in various forms before Stanley's PS-10, later versions of the Iceman came about as a means for Ibanez to copy Stanley's guitar en masse without paying the rocker a royalty. If you were to ask Stanley about it, or make the mistake in his presence, be forewarned; he shall bristle and assertively correct you.

The PS-10 came about after Kiss's tour around Japan in '76 exposed Stanley to multitudes of guitar shapes he'd never seen before. Upon returning home, he knew he wanted to craft a guitar bearing his signature. But as a disciple of Les Pauls, he also wanted the guitar to maintain the feel of those sacred talismans if he were 'to close his eyes'.

So, after a meeting with Ibanez in late '76, in 1977, the PS-10 was born. Sure, it looks nothing like a Les Paul, and it's debatable if its neck or weight distribution are similar, either.

Nevertheless, Stanley nailed the LP Deluxe sound, which is unsurprising considering the PS-10 features two chrome-plated mini-humbuckers. Beyond that, the PS-10 is made of mahogany, which Stanley finds to be the 'ultimate tonewood', and features a 14" radius neck, jumbo frets, and a very Les Paul-like set up of two-tone knobs and two volume knobs. 

While it might not look like a Les Paul – or feel like one, despite Stanley's intention – the heart and soul is there. Moreover, there's no denying that the PS-10 is a hallmark of the Kiss visual experience to this day.

7. 1977 Ibanez PS-10 CM, aka "The Cracked Mirror Guitar"

Stanley was fitted out with his PS-10 model before Kiss hopped on tour to support Love Gun. The guitar traveled the world with him, instantly replacing most of his previously used Gibson Firebirds and Explorers (though Stanley, as he does to this day, broke out his Gibson Flying V during Black Diamond). The PS-10 was sleek, to be sure, and its prominent 'wall of sound' vibe aided in the creation of Alive II and his self-titled 1978 solo record.

By 1979, though, preparations for Kiss's Dynasty tour were underway, as were discussions for the updated costumes and stage show Kiss would deploy. Stanley felt that he needed to update the PS-10 to fit into the disco theme Kiss was adopting, so the PS-10 CM was born.

Of course, the CM stands for 'Cracked Mirror,' which came about due to Stanley asking Ibanez to shatter a mirror and glue the pieces to the top of a PS-10. At first, Ibanez thought Stanley was crazy, but the company did it anyway. The result was a gorgeous guitar that Stanley still uses to this day.

The PS-10 CM is identical to a standard black PS-10 in terms of specs, with the biggest difference being its weight. With oodles of glass glued to its face, the PS-10 CM was heavy, leading to many sleepless nights due to a sore shoulder. Moreover, playing the guitar was dangerous for Stanley, considering the shards of broken glass would often slice Stanley's hands. 

The guitar's most infamous moment, however, came early in the Dynasty tour, when Stanley – who had forgotten the guitar was covered in shards of glass – smashed his PS-10 CM at the end of Rock and Roll All Nite, leaving glass all over the stage, and Ace Frehley cackling with laughter.

8. Bruce Kulick – 1987 Yellow ESP M-1 Custom, aka "The Banana Guitar"

Like all of Kiss's six-stringers, Bruce Kulick has played a ton of lively guitars over the years. But he's primarily associated with ESPs, and if we dial back to the late-'80s and early '90s – smack in the middle of Kulick's time with Kiss – you'd find that, among the many guitars he used, his ESP M-1 Superstrat stood out more than most.

When he first joined Kiss in '84 during the Animalize tour, and then during the Asylum era in '85, Kulick often used his 'Flip Flop Blue' M-1. Kulick loved the guitar so much that it became his primary guitar, leading to many trips to the ESP factory, where he eventually created several custom M-1 guitars. 

The most infamous of these is 'The Banana' guitar, which was lovingly nicknamed by Kiss's roadcrew in reference to its bright yellow finish. Those involved were so committed to the name that the roadcrew adhered a Chiquita sticker to the M-1s body, just under the strings. Kulick loved it, and to this day, the sticker remains.

In retrospect, it's not hard to see why Kulick loved the M-1, as it sounded as good as it looked. The M-1's rosewood fingerboard and sleek neck made the guitar uber-playable. Also sporting a Seymour Duncan pickup, Floyd Rose tremolo, and simple, two-knob control setup, the guitar was a staple of Kulick's recording and live career with Kiss.

Along with his red B.C. Rich 'Radioactive' curio, Kulick used his custom ESP M-1 extensively during the late-'80s Crazy Nights era and well into the '90s. Its status as a legendary Superstrat, playability, and sweet-sounding tones are just a few reasons why Kulick's 'Banana' ESP is one of the most beloved Kiss-related guitars.

9. Vinnie Vincent – 1981 Jackson Rhoads V

Vinnie Vincent is probably more well-known for his antics within Kiss than the guitars he used during his time in the band. Still, the 1981 Jackson Rhoads V Vincent used between 1982 and 1983 remains an iconic staple of his time with the rock icons.

Of course, Vincent – with his penchant for flash and bravado – had to have a guitar that would match his supposed virtuosity. Indeed, Vincent was never one to be upstaged – even as a newcomer – and so, a simple Strat or Les Paul would never do, much to the dismay of his bandmates. 

To that end, the insertion of the V was odd within Kiss's ranks. The band had always preached the 'keep it simple, stupid' mantra and preferred decidedly classic-looking and sounding guitars.

Undeterred, Vincent moved to insert his V into the mix, a guitar he had been given by Jackson not long after Randy Rhoads' untimely death. For the uninitiated, the Rhoads V, with its asymmetrical design, maple neck and body, ebony fretboard, medium frets, Strat-style tremolo, and Seymour Duncan pickups, was designed by Jackson after being commissioned by Rhoads. 

Soon after receiving the guitar, Vincent modified the V, adding a second V at a slight rotation to the first, mimicking a shadow. 

While with Kiss, Vincent mostly used white-colored Vs, but after he was fired from the band, Jackson began production of about 25 of the Vincent-modified versions in bubblegum pink from 1985 through 1988. Finding one of those, however, is about as tricky as getting a hold of the reclusive Vincent himself.

10. Tommy Thayer – 2013 Signature Electric Blue Epiphone Les Paul

Tommy Thayer has long used Les Pauls, dating back to his days with Black 'N Blue in the '80s. When he first joined Kiss, that trend continued, with Thayer using various Gibson 'Burst models when touring with the band. It's no surprise, then, that when Thayer finally got together with the fine folks at Epiphone, he stuck with a classic single-cut, but added quite the twist.

Kiss have featured a great many guitars on stage over the years, all of which are decidedly unique. Thayer's signature Epiphone Les Pauls, however, stand out with their Electric Blue and White Lightning finishes. Thayer had a few models adorned with his namesake prior, sure, but the Electric Blue version of his signature guitar truly takes the cake.

The story goes that Kiss's drummer, Eric Singer, had turned Thayer on to the work of John Douglas, a custom painter. Douglas then worked with Thayer and Epiphone in 2013 to create the custom Electric Blue color.

As for specs, Thayer's signature models are usually equipped with Seymour Duncan humbuckers, medium jumbo frets, a Graph Tech nut, and an Indian laurel fingerboard with trapezoid inlays. Some snazzier features include a gorgeous chrome-finished pickguard, a Spaceman logo on the back of the headstock, and Thayer's signature engraved in the metal truss rod cover. All told, despite its budget nature, Thayer's Epiphone signature model is a sight to behold, indeed.

With Kiss, lead guitarist Tommy Thayer roams the stage in six-inch platform heels, his signature Gibson and Epiphone Les Pauls echoing across stadiums and arenas worldwide.

It's quite a spectacle, and when it comes to rock 'n' roll grandiosity, few do it better, let alone with so much flash. Thayer's slick licks are only matched by the grease paint adoring his face, and the leather draped over his frame. But at the crux of it all, that age-old single-cut curio – unless he's deploying his rocket-shooting Flying V – is slung over his shoulder, and through that most sacred of talisman, Thayer summons the ghosts of those who came before him.

As a player who was prescribed doses of rock and blues from a young age, Thayer's style follows suit. But still, there are undertones that can't be so easily pinned down. When asked about his influences, Thayer happily obliged, giving the ever-raucous Kiss Army some insight into the remarkable player he is, further cementing his legacy within the band's 50-year-lore.

As Kiss shifts its focus on the final dates of its End of the Road World Tour, Tommy Thayer beamed in with Guitar World to run through the 11 guitarists who shaped his sound.

1. Pete Townshend

“Pete is one of my all-time favorite guitar players from one of my all-time favorite bands, the Who. Pete invented the power chord. He was the original punk rocker. His riffs and writing were and are epic and symphonic. Without Pete, so many great players after him would never have existed.”

2. Peter Frampton

“Frampton had this beautiful way of combining English hard-rock blues guitar with a jazz taste but still rocking hard. He's an amazing singer, writer, and expressionist. He made the talkbox famous. But my favorite is his open-G tuning, on acoustic and electric – listen to Nowhere's Too Far (For My Baby).”

3. Davey Johnstone

“Elton John's guitar player, Davey Johnstone, wowed me when I first heard him playing on the Goodbye Yellow Brick Road album. He played in a souped-up Clapton style with amazing tone, articulation, and wide vibrato. Listen to Funeral for a Friend/Love Lies Bleeding; his playing brings me chills.”

4. Robin Trower

“Robin Trower reached his pinnacle in the US with Bridge of Sighs, and that was right when I was learning to play guitar. I saw him in Portland around that time – he played a Strat through a wall of Marshalls. He had to be by far the loudest guitar player I'd heard at the time.

“As I got a little better, I'd constantly riff on Day of the Eagle, Bridge of Sighs, and The Fool and Me. Funny I didn't end up playing a Strat!”

5. Mick Ralphs

“Kiss's drummer, Eric Singer, often says I sound a lot like Mick Ralphs and have his 'left hand'. Mick's melodic, flowing lead playing and super-wide vibrato always appealed to me, affecting my playing in a big way.

“In recent years, I was introduced to him, and he was so great to me. It's nice when someone you've looked up to your entire life turns out to be such a wonderful person.”

6. Ace Frehley

“Ace obviously was a big, big influence on me and my desire to play guitar. When I started, I discovered Kiss and was immediately drawn to their look, their sound, and most importantly, the guitar playing.

“Ace played in a Clapton/Page style but made it his own. His guitar solos on the first three albums, plus Kiss's Alive!, were signature, melodic, and memorable. That's what makes him and his playing so special.”

7. Ronnie Montrose

“Ronnie Montrose is probably the biggest influence on my guitar playing. He was a second-generation Clapton, Bloomfield, and Beck. His playing was always fiery and exciting – his articulate, melodic style exploded with energy.

“His playing with Van Morrison and Edgar Winter was impressive, but his first two albums as Montrose took it over the top. They were quintessential hard rock albums of the time, particularly the first one [Montrose]. Listen to his solos on Good Rockin' Tonight, and I Got the Fire. It's an 'A' lesson for any rock 'n' roll guitar player.”

8. Ritchie Blackmore

“Because of my age [62], I was a Deep Purple Mk II and III fan first. I got the Burn album when I was 13 and just barely playing guitar. Blackmore had a wonderful way of combining fluid blues licks with classically inspired runs.

“On the song Burn, you can hear him switch his pickup selector between riffs – you can tell it was blow and go, very live, very real. Amazing.”

9. Alex Lifeson

“Caress of Steel was the first Rush album that I had, and Bastille Day was the song I tried to learn first. Alex Lifeson played beautiful, loud, heavy guitar riffs, all churned into melodic songs with crazy sci-fi lyrics. Alex had the chords – I call them 'golden chords', with these droning, sustaining voicings that made his guitar playing symphonic. His sound was rich.

“I saw Rush play at the Paramount Theater in Portland in the mid-'70s; you had me hanging on the edge of the stage, mesmerized by what I was hearing and seeing. Alex was regal with long shiny blond hair and bangs, rocking in front of a wall of Marshalls and Hiwatts. I realized then, 'That's what I want to do.'”

10. Pat Travers

“In the mid-to-late '70s, I listened to an AM radio station in Portland called KVAN; they played all kinds of up-and-coming and imported hard rock. One day, I heard a six or seven-minute-long song that completely blew me away. It was a fiery new guitar player named Pat Travers, and the song was called Hooked on Music, from his latest LP called Makin' Magic, with was only available as an import at the time. I went out and grabbed the album and couldn't stop listening.

“I loved Pat's chord voicings – I hadn't heard anything like it. A few months later, he played the Paramount in Portland. He had Mars Cowling and Tommy Aldrich – what a friggin' band! The sound was huge: he played a Gibson Melody Maker through four Marshalls and a Leslie. I was hooked.”

11. Rick Nielsen

“In true Spinal Tap tradition, I chose 11 players, and that 11th is Rick Nielsen. He's one of the greatest riff-masters and tunesmiths of all time. He's got style and attitude going way back to when I first saw Cheap Trick open for Kiss at the Portland Memorial Coliseum in '77. I instantly loved everything about them, the look, the energy, the songs, the Hamer guitars, and the tattered Sound City cabinets.

“Like Pete Townshend, Rick's approach goes from simple and raw Hello There to the epic Dream Police to the symphonic Stop This Game. He's hands down one of my favorite guitar players.”

KISS guitarist Tommy Thayer is the latest big name guitarist to crop on the Gibson App, with a lesson in four of his favorite guitar solos from the rock icons.

The announcement comes as the guitar brand launches a new section on the app, the Gibson App Guides, which offers artist-led lessons on the material they have written or performed. 

Thayer is the debut offering and you can watch him guide you through the solos in KISS tracks including Black Diamond, Detroit Rock City, Shout It Out Loud and Psycho Circus.

The KISS guitarist has a long-established working relationship with Gibson, specifically it’s budget-friendly offshoot Epiphone, which has issued numerous Thayer signature guitars, including his 2013 Tommy Thayer Signature Les Paul and 2017’s Limited Edition Tommy Thayer ‘White Lightning’ Explorer Outfit.

Thayer is not the only player to feature in the Gibson app’s Guide section. Alongside the KISS man’s sessions, there’s a new Guide To Blues series under the expert direction of Jared James Nichols. It includes guidance on dynamics, vibrato, phrasing and even a gear talk session. 

Meanwhile, future guides are set to include a Guide To Heavy Metal from Judas Priest guitarist Richie Faulkner and a Guide To Songwriting from Celisse. 

Head to Gibson for more information on the app.

An argument could be made that without guitarist Tommy Thayer and drummer Eric Singer, not only would Kiss’s highly successful The End of the Road Tour never have happened, but fans wouldn’t have been able to see the band in concert over the past two decades.

The pair may have initially been replacements for their original counterparts, Ace Frehley and Peter Criss, but decades of touring one of the biggest rock and roll shows of all time has secured their place in music history.

In between his Kiss duties as the Spaceman, Thayer lent his six-string skills to Carmine Appice’s soaring track Mystified, which appears on the legendary drummer's Zeus 25th Anniversary Box Set. 

Following the boxset's release (and in between Kiss tour legs), Thayer spoke to Guitar World to discuss his approach to the track, how his playing has developed in his time with Kiss, and what the future holds for the iconic group.

How did you get involved with the Guitar Zeus project?

“I’ve known Carmine for a long time. I’m talking back to the early ‘80s, when my band Black ‘N Blue first got to LA. It’s really interesting because Carmine would come see Black ‘N Blue play in the Troubadour, and then afterwards he’d come up and say hello to us. 

“We were just blown away, thinking, ‘Why would he want to come say hi to us?’ [Laughs] The craziest thing was he was just the nicest guy. He was one of those unpretentious, unaffected guys. It left an impression on me. 

“So, when I heard he was doing the Guitar Zeus thing and he had a new edition that he wanted me involved in, I immediately jumped on it.”

Mystified features an extended solo at the end.

“Once Carmine sent me the track, I said, ‘I’m in Las Vegas now and I’d like to record my solo here.’ He said, ‘I know a guy who has a studio in Las Vegas and you can go over. His name is John Payne.’ So, I went over to John’s house and recorded the guitar solo. 

“I basically just ran through it two or three times and that was it. I didn’t prepare anything – it was definitely off-the-cuff. A very impromptu guitar solo.”

How did you approach Mystified guitar-wise compared to your work with Kiss?

“With Kiss, it’s always different. When we were doing the Sonic Boom album, we really wanted to make a classic Kiss record – I wanted to do the kind of solos that harken back to classic Kiss eras. So, there’s a little bit more thought put into that. But with this one, it was just ‘go in there and blow it out.’” 

What is your current guitar setup? 

“I have always played Gibson Les Pauls. My main stage guitar these days is what I call my White Lightning Les Paul. It’s a beautiful metallic white Les Paul Standard, with a mirrored pickguard and a 7-ply white/black binding on it. It’s a great guitar.

“And I have a new one called an Electric Blue Les Paul, which has an iridescent blue flake finish. But it’s basically the same guitar – it’s a Les Paul Standard with kind of a ’59 profile neck on it, and Seymour Duncan JB pickups. 

“I don’t really use effects. As far as amplification, I use the same amps I’ve used for the last 15 years – Hughes & Kettner Duotone amps. They’re 100-watt tube amps – real loud, arena-type amps.”

Have you made any changes to your rig for the recent Kiss tours? 

“I’ve been tried and true for over 15 years. I probably have four of those Duotones with me and I run three cabinets on stage – one is underneath the drum riser and then two are offstage running in stereo. It’s a traditional guitar-into-the-amp kind of sound.” 

How would you compare your signature Les Pauls to a regular Les Paul?

“The Les Pauls I play on stage are made by the Gibson Custom Shop – they’re not my signature models. I’ve done four different signature guitars with Epiphone through the years. 

“The first one was a Silver Sparkle Les Paul called the Spaceman, the second one was the White Lightning Les Paul, I did a White Lightning Explorer after that, and now the most recent one is the Electric Blue Les Paul. 

“They’re all guitars like I said, modeled after a ’58 or a ’59 Les Paul Standard. But they’re enhanced aesthetically with the finishes that look cool and look very ‘Kiss.’ Mirror pickguards and stuff like that.”

How has your guitar playing changed since you started playing with Kiss? 

“I like to think that I continually get better. [Laughs] I still work on it – I still practice. I’m more comfortable now than when I first got in the band 20 years ago. But that’s to be expected. 

“When I came in – in 2002 – I came in just as a fill-in, really. Because they didn’t know what they wanted to do after the reunion tour ran its course and things got screwy with Ace [Frehley] and Peter [Criss] again. 

“And then by 2003, when we did the Kiss Symphony concert [aka Alive IV], that was really my first official gig as Kiss’s guitar player. Big shoes to fill, a lot of eyes on you, a lot of expectations. 

“But I felt like I hung in there, worked hard, and like I said, over the years, I got a lot more comfortable in the role. And where the band is at today is in a really good place.” 

What are your plans for after Kiss?

“I don’t have any. I’m not a ‘What are you going to be doing in five years?’ kind of guy. I’m just looking at today and focusing on that.

“We’re in the middle of The End of the Road Tour now. We’re on a break for a couple of months – we start in Australia in March, then we’re doing South America in April and May, and in June and July we’re in Europe again. 

“There’s a light at the end of the tunnel – we just had a great three-month run in the US this fall. The shows were packed, and I could sense a different kind of energy coming from the fans. People were really excited to be there – because this is something they hadn’t been able to do for a year or two.”

Which Kiss songs are your favorite to perform live? 

“My favorite Kiss song when I heard the first Kiss album [1974’s Kiss] was Black Diamond. I still love playing that one live. 

“Ace had some fantastic, very signature solos back in the day, and I love playing those solos. Every kid grew up on that stuff, and I’m the one that gets to play it night after night, so I’m very fortunate in that regard. 

“Detroit Rock City. Another fun one is God Gave Rock n’ Roll to You II – with a great Bob Ezrin-esque melodic guitar section in the middle of it.”

Is this really the end of the band? 

“You’d have to ask Gene [Simmons] and Paul [Stanley] that question. That’s the plan, and legitimately what we’re doing. 

“None of us are getting any younger, particularly Gene and Paul – they’re edging into their 70s now. To do a Kiss performance, it takes a lot more than your average band to do this. Kiss is in a different category in terms of the physicality and what it takes to actually do a show. 

“The idea was to do the End of the Road Tour while we’re still on top of our game. So, that’s what we’re doing – and we’ve got another year to go. 

“Over the last year, I haven’t really lived a normal life, because whenever we are between legs of the tour and we’re waiting, I feel like I almost have to self-impose a quarantine on myself – because I don’t want to be the one that gets Covid, and screws it up and have to blow out dates.”

What do you think your legacy will be with Kiss?

“I don’t know if many people realize this, but I’ve been the lead guitarist in Kiss longer than any other Kiss guitar player. But I will always be known as ‘the new guy’ though – no matter what happens. I’m ‘the Ronnie Wood’ of Kiss. 

“My legacy will be a guy who came in, worked hard, and was the glue that kept the band together for a long period of time. I think the kind of character and personality that I have is that of a team player and somebody who can bring people together and bind things together.

“And I think the reason that we’ve done so well and so consistently in the last 20 years is because of the personalities, the give and take, and the ability to keep everybody happy… and keep working together on a professional level. 

“It works well. I’ll probably be that guy that has been in the band longer than anybody else besides Gene and Paul, that kept things together, and was the glue that made it work.”

• Carmine Appice's Guitar Zeus 25th Anniversary Box Set is out now.

A huge fundraiser featuring personally signed electric guitars from Kiss’s Tommy Thayer, Bon Jovi’s Phil X and Ghost’s Papa Emeritus IV, among other pieces of music memorabilia, is being launched to benefit Roadie Relief.

Founded by Chad Ward, Roadie Relief works to provide ongoing support to live event workers struggling financially as a result of work stoppage due to the COVID-19 pandemic. The fundraiser has been organized with 32auctions.com.

Among the many items on offer include a Tommy Thayer-signed signature series Epiphone Les Paul, a Phil X-signed Gibson Les Paul Jr. and a Papa Emeritus IV-signed Hagstrom Phantom.

Also up for sale are a Steve Stevens-signed J. Rockett Audio Rockaway Archer overdrive EQ guitar pedal and guitar pics; a PRS SE Custom 24-08; a custom handmade guitar used on episodes of Couch Riffs; a Darkglass Electronics 500 v1 bass amp; and a Daredevil Almighty Bass pedal.

Non-guitar items, meanwhile, include a Taylor Hawkins piano black Gretsch drum kit used at Wembley Stadium in 2008 with the Foo Fighters, along with an All Access laminate from the show; a Metallica bundle including a show poster, a pair of Lars Ulrich's used drum sticks and one of Ulrich’s custom snare drum heads; and five different Faith No More bundles that have a signed poster, guitar picks and an after-show pass.

The auction is live now and ends April 14. For a full list of items, head to 32auctions.com.

When Paul Stanley and Gene Simmons pull off their platform heels for the final time, they’ll have been at the helm of Kiss for almost 50 years — an amazing experience, to be sure. But what might be an even more amazing experience? To be in the space boots of Tommy Thayer, who grew up in Seventies Oregon worshipping Kiss, only to eventually find himself a fully costumed, full-fledged member of the band.

“It is almost cooler in a way,” Thayer says with a laugh. “Because I’ve come full circle. As a kid I used to look at their photos in the pages of Circus magazine, like, ‘Here’s this incredible band with cool hair and makeup and outfits and stacks of Marshalls and pyro…’ I was blown away, just like everybody else at the time. And now, decades later, here I am.”

Thayer’s path, of course, was not a straight shot from the bedroom to the Kiss stage. He first rose to prominence as the guitarist in Eighties hard rock act Black ‘N Blue, who opened for Kiss on tour and for whom Simmons produced a pair of albums. Post-Black ‘N Blue, Thayer also performed as Ace Frehley in a Kiss tribute act, Cold Gin. He was brought into the Kiss organization in an administrative capacity in the mid-Nineties and assumed the role of the Spaceman in 2002 after Ace Frehley parted ways with the band following their reunion.

When it comes to straddling the line between staying true to Frehley’s original sound and style and injecting some of his own unique guitar voice into the band, Thayer, whose primary guitar and amp setup on the End of the Road tour will be a Les Paul through his Hughes & Kettner Tommy Thayer DuoTone heads, says, “That’s always been a little bit of a trick. But my guitar style has always been very much in line with the classic original Kiss style, because I think Ace and I came from the same school of those late-Sixties, early-Seventies English hard rock blues players like Jimmy Page and Jeff Beck and Ritchie Blackmore. So it came very naturally to me to play that early Kiss stuff true to the way it was written and recorded.”

As for what songs he most enjoys playing? “ ‘Black Diamond’ would be an obvious one, because there’s a lot of guitar interludes and solos,” Thayer says. “ ‘Let Me Go, Rock ‘n’ Roll’ is great, too, and ‘God Gave Rock ‘N’ Roll to You II’ has some very signature melodic lines which are a lot of fun. But honestly, I get off on playing all of them.”

As for how he feels about possibly playing alongside Frehley or Eighties-era guitarist Bruce Kulick, were they to show up as surprise guests on this final run? “I think if it happens kind of organically, it would be great,” Thayer says.

The guitarist is also sympathetic — to a point, at least — toward the rigid stance some longtime fans have about seeing anyone but Frehley wearing the iconic Spaceman makeup. “I’ve been a fan for longer than probably most of these people, so I understand,” he says. “But you can’t expect things to be exactly how they were 40 years ago. That’s a fantasy. So I don’t let it bother me. I’m comfortable and confident with where I am and what I do.”

What’s he’s doing right now, of course, is helping Kiss celebrate a four-decade-plus rock ‘n’ roll legacy.

“This is 45 years of a phenomenon, really,” Thayer says. “And I’m just honored to be a part of it.” And he promises that, with the End of the Road tour, “we’re going to do it bigger and better than we ever have. Kiss aims to go out with a huge bang — figuratively and literally.”

Kiss have announced the release of a new greatest hits package, Kissworld—The Best of Kiss. The set is out January 25 via UMe on CD and digital, with standard black vinyl and limited edition color vinyl released on March 29.

The new package is timed to coincide with the kickoff of Kiss’ End of the Road final tour, which begins January 31 in Vancouver.

Kiss initially announced the End of the Road tour during an appearance on NBC’s America’s Got Talent in September.

"This is gonna be our last tour," singer and guitarist Paul Stanley said following their performance of “Detroit Rock City" on the show. "It will be the most explosive, biggest show we've ever done. People who love us, come see us. If you've never seen us, this is the time. This will be the show."

Kissworld—The Best of Kiss is available for pre-order here. You can check out the album art and track list below. 

For more information, visit www.kissonline.com. 

Epiphone has announced three new artist signature models, including the Tommy Thayer “White Lightning” Explorer.

In addition to the Tommy Thayer “White Lightning” Explorer, Epiphone also announced new signature models from Matt Heafy of Trivium, and Björn Gelotte of In Flames.

Epiphone Ltd. Ed. Tommy Thayer “White Lightning” Explorer Outfit ($899)

Tommy “Spaceman” Thayer returns with his third custom Epiphone, the “White Lightning” Explorer Outfit, inspired by his “White Lightning” Les Paul.

Featuring the classic Explorer body in a Custom Metallic White finish plus Seymour Duncan JB Humbuckers chosen by Thayer, Grover Rotomatic machine heads, a custom hard case and more. Plus, each Ltd. Ed. “White Lightning” Explorer also includes a hand signed Certificate of Authenticity in a presentation binder.

Epiphone Ltd. Ed. Matt Heafy "SnØfall" Les Paul Custom Outfit ($899 (6-string), $949 (7-string))

Longtime Epiphone Signature artist Matt Heafy of Trivium returns with the new Epiphone Ltd. Ed. Matt Heafy "SnØfall" Les Paul Custom Outfit 6-string and 7-string models.

Inspired by Trivium’s critically acclaimed album Silence in the Snow, this time Heafy brings a new twist to his signature Custom Les Paul design with a beautiful Alpine White Gloss finish, Phenolic fingerboard, and EMG active pickups. Plus, both 6 and 7-string Ltd. Ed “SnØfall” Les Pauls include a premium gigbag and a hand-signed Certificate of Authenticity.

Ltd. Ed. Björn Gelotte "Jotun" Les Paul Custom Outfit ($899)

Björn Gelotte of In Flames presents the new Ltd. Ed. Björn Gelotte "Jotun" Les Paul Custom Outfit, his second Epiphone signature model inspired by the In Flames classic co-written with Gelotte for the band’s 1997 album, Whoracle.

The “Jotun” Les Paul features a classic Les Paul Custom in a Bone White finish, EMG “Metalworks” Active Pickups, an Ebony fingerboard and Grover Roto-matic Machine Heads. Gelotte has also added a stainless steel bottle opener on the back of the guitar along with a custom designed Hard Case and a hand signed Certificate of Authenticity.

For technical specs and additional information, visitepiphone.com.

Kiss guitarists and Les Pauls just seem to go together. Just ask Tommy Thayer, who just introduced his new Epiphone White Lightning Les Paul.

We caught up with Thayer—just days before he headed out on a whirlwind tour of Japan—to discuss the new guitar, Kiss and a whole lot more.

GUITAR WORLD: It’s been two years since you teamed up with Epiphone to release your signature Spaceman Les Paul. How is the new White Lightning Les Paul different?

There are a lot of similarities. The look, design and color scheme are different, obviously. The pickups are different too. In the last year or two, I started using Seymour Duncan JB pickups again.

I used them a long time ago. I was using Gibson pickups for a long time. I’m not sure why, but one day we put a set of JB’s back in the guitar and it sounded great. It was just one of those things where you are chasing the sound; it was something different that peaked my interest.

As far as the neck and the body shape, is it pretty similar to your other model?

It is. The neck is the same. It's somewhere between a 1960 and a 1959 profile. It’s not a baseball bat, but it’s not super-thin either. It’s kind of in between, which I like more. The cool thing is it has this great white metallic finish [see the photo gallery below]. It’s a really stark white. It isn’t a pearl color like some of the Gibson Custom models. I wanted it to be a really striking guitar that would look great on stage. I wanted to have all the chrome parts to offset that.

The pickup rings and pick guard are all chrome. Originally the idea was to do a chrome binding as well. It became difficult even for Gibson to figure out exactly how to do that. When they did the original two guitars last summer, the ones that were the inspiration for the Epiphone, we couldn’t figure out how to do a chrome binding. I ended up using a three-ply black-and-white binding, which actually was a better idea. I think it looks great.

I think any manufacturer would admit it’s hard to get chrome on wood.

They cut those Les Paul shapes out of wood and they leave a strip or a channel on it for the binding. Even before they paint them, they put the binding on and they sand them with the binding on. That’s the traditional process and why it was so difficult to do with chrome. It was funny; we went back and forth with Gibson for months trying to figure out what to do. It turned out great in the long run.

On the Spaceman Epiphone, you had gone back and forth with Epiphone on the size of the flake. When you are doing a finish like this and you're playing on one of the biggest stages with the lights, do you have to play around with and give consideration to how these guitars look on stage?

Absolutely. It’s very important to have a guitar that on stage pops out and looks like it works on a Kiss stage. A lot of that is taken into consideration. It’s a very flamboyant, theatrical show so you need flamboyant, theatrical guitars. Coincidentally, that is the kind of guitar I like the looks of anyway. I’m sure Paul [Stanley] and Gene [Simmons] feel the same way. You don’t want to just do something plain or generic. You need some pop to it. We know what works by experience.

Are you a tinkerer, guitar-wise? Do you mess around with a lot of configurations, or do you have a pretty good handle on what you like?

I used to do a little bit of that back in the old days. I messed up a couple of good guitars fooling around. I had a few Les Paul Jr’s., a ‘58 or '59 Sunburst Jr., and I took the pickup out of it and I don’t know what I did. I did stuff you shouldn’t do by today’s standards with vintage guitars. That was 30 or 35 years ago. There was a point where I had a few Strats, even though I was always more of a Les Paul guy, and I messed around with the necks and parts. These days I try to stay away from that stuff and let others deal with that. I’m not really interested in messing around and tinkering. I just like to play them.

In the Eighties, there was a dip in the vintage guitar market with everyone going to the “super” Strats. The guitars everyone prizes now weren’t quite as valuable back then, and people took a lot of liberties with those guitars that they wouldn’t dare now.

There was a time in the Eighties when no one wanted Les Pauls. Everyone wanted Charvels and Jacksons. I actually bought one of my best guitars back then. This one was a ‘72 Deluxe that was routed out for regular humbuckers. I bought it at this guitar shop in Hollywood in 1985 or 1986 for like $350. No one wanted them, but I sure did and I took advantage of the great prices. By the time Guns N' Roses came out, things changed and Gibsons became real popular again.

This is your 12th or 13th year with Kiss if I’m not mistaken.

It’s not exactly clear when I started. The first gig I did with them was in 2002 as a filling-in situation. The first official gig was in early 2003. It could be 12 or 13, depending on how you look at it.

You guys have a lot of tour dates coming up including Japan, and you're hitting every continent outside of Antarctica. Is the entire year mapped out at this point?

This year is fairly well mapped out, even though we haven’t announced what is going on specifically later this year. It is primarily international tour dates, which starts in Japan for a few weeks. By the way, we have a Number 1 single in Japan right now with Momoiro Clover Z [a female Japanese band].

How did that come together?

That was very interesting. I don’t even know whose idea it was. There is a teen idol band over there called Momoiro Clover Z. They are all in their late teens and early 20s. You wouldn’t know it; they look like they're about 13 [laughs]. We did a collaboration with them, and it’s very Kiss and has a very Japanese flavor and taste to it. We filmed the video for the song, which is spectacular. It’s become very popular over there now and has gone to Number 1.

You guys are also doing South America pretty hard. Are there places you still haven't gone?

I’ve been there on two or three tours with Kiss, and it's a mega-market for us. In April we are doing several weeks. I think we are doing about five in Brazil and going to a couple of places we haven’t been before. We haven’t played Montevideo, Uruguay. There might be a couple others. It seems we have covered every country down there at one time or another. It is really over the top down there. The fans are crazy, crazier than almost anywhere in the world. Kiss fans are crazy everywhere, but down there is especially insane.

During the tour, are you able to get away and enjoy some of the culture of the places you visit?

I like to do that, actually. I’m not a stay-in-the-hotel-room guy. Sometimes it’s a little bit of a challenge because you are traveling on days off. A lot of times you just need to rest. Some days you just have to recharge the batteries. Other days getting out seeing the culture and the people and enjoying the food is exciting. It is an amazing opportunity when you do these tours because you go to places you may not otherwise have the chance to visit. We are lucky in that regard. I like to regard those extra pleasures along the way.

Kiss kick off their South American tour April 10 in Bogota, Colombia and have 10 shows planned in South America, culminating with Monsters of Rock in Sao Paulo, Brazil. They return to Europe in May with dates throughout June, and they're back Australia in October. Visit tommythayerguitar.com for more info about Thayer’s White Lightening Les Paul. Visit kissonline.com for more about Kiss.

John Katic is a writer and podcaster who founded the Iron City Rocks podcast in 2009. It features interviews with countless rock, hard rock, metal and blues artists.

Kiss guitarist Tommy Thayer will perform with headliner Steel Panther at NAMMJAM 2015.

NAMMJAM 2015 is considered "the hottest ticket at NAMM." Now in its sixth year, this invitation-only party will take place Friday, January 23, beginning 6 p.m. at the Grove of Anaheim.

Presented by DELVE TEXAS and sponsored by EPIPHONE GUITARS, MONSTER ENERGY, AFFLICTION, CORONA LIGHT, FX GROUP, NEWTEK, GUITAR WORLD MAGAZINE, SIT STRINGS, KRAMER GUITARS, BAND GEAR and GOTHAM STANDS, NAMMJAM 2015 will be a rocking evening of music, fashion and camaraderie.

Performances at NAMMJAM 2015 will include:

• · STEEL PANTHER - the American glam metal band whose profane, funny and all rock-n-roll
• satirical send-up has made them legends in their own time.

· HARDCORE SUPERSTAR - the Swedish sleaze rockers have been together since 1997
with three #1 hits on the Sweden music charts. This will be their first U.S. performance
in ten years!

· OTHERWISE - blending plaintive post-grunge and driving, alternative hard rock, the
Las Vegas quintet have three hit singles.

· NICK COLIONNE - combining jazz, R & B, blues and funk, his unmistakable sound and
vibe is instantly recognizable as he takes the guitar to unexpected places.

· AFFLICTION FASHION SHOW BY JONNY COFFIN - highlighting America's premier,
rock-n-roll lifestyle clothing brand, AFFLICTION, this high-energy fashion show is always
an eye-catching treat.

In the spirit of supporting the next generation of aspiring rockers and young music industry creatives, DELVE TEXAS has organized a silent auction to be held at NAMMJAM 2015 benefiting the HOUSE OF BLUES MUSIC FORWARD FOUNDATION. NAMMJAM 2015 attendees will have the opportunity to bid on autographed guitars from EPIPHONE and KRAMER GUITARS; autographed items donated by CHRIS ADLER (LAMB OF GOD); photographic prints of DIMEBAG DARRELL and ZAKK WYLDE taken and donated by legendary photographer, CHAD LEE; and numerous other memorabilia donated by music industry notables.

NAMM SHOW attendees who would like an opportunity to obtain a ticket* to attend NAMMJAM 2015 should visit the DELVE TEXAS booth 4130 Thursday, January 22, by 4 p.m. or Friday, January 23, by 2 p.m.. *First come, first served and while supplies last.

If the Kiss Army were to appoint a general, it would have to be the band’s lead guitarist, Tommy “Spaceman” Thayer.

Long before he donned Ace Frehley’s iconic makeup and became the band’s official ax master in 2003, Thayer had already developed an impressive service record with the group, included writing and recording demos with Gene Simmons, managing the 1995 Kiss Worldwide Convention Tour and working as producer and editor on the Kiss films The Second Coming, Detroit Rock City and The Last Kiss.

Thayer’s signature Epiphone Spaceman continues his tradition of stellar contributions to the Kiss legacy. It’s a souped-up tour de force of tone and certainly one of the most thrilling and well-balanced Les Pauls created in recent years. In addition to featuring a pair of Gibson’s hotter 498T pickups, it has an ultra-cool retro-style silver-flake finish. Epiphone is making only 1,000 of the limited-edition Spaceman, and at a street price under $700, they’re sure to go fast.

Features

Epiphone’s Spaceman is a true example of harmonious design, where each component’s special tonal characteristics purposely and appropriately complement the instrument’s ultimate response and sound. Vintage-style Grover tuners contribute to precise note definition, the thin maple top adds just the right amount of bright bite on top of the mahogany’s naturally thick midrange, and the deep-set, Sixties-style mahogany neck and LockTone Tune-O-Matic/stop-bar bridge provide extra sustain.

Playability across the rosewood fretboard’s 12-inch radius is Les Paul perfect (low action and tight string snap), and each Spaceman comes with a custom silver hard case, signed certificate, Epiphone strap locks and Tommy Thayer edition studded strap.

Gibson 498T pickups produce the Spaceman’s fiery combination of punch and crunch. Focusing on tone over a uniform appearance, Epiphone and Thayer placed a covered version in the neck position and an open-bobbin style in the lead. The cover slightly alters harmonic peaks and overtones, enough so that the pickups will harmonize when played together rather than sound muddy or washed out.

Performance

I had a hard time putting the Spaceman down long enough to write this review. I was absolutely entranced by its rare combination of spacious note separation and sustain. More than so many other guitars, it captured my musical intent and clarified difficult passages, elevating my performance and confidence. My favorite tones came from using the 498T pickups in unison. They blended seamlessly, leaving no tonal gaps and producing an energetic mix of attack, three-dimensional imaging and midrange howl.

The Bottom Line

Kiss fan or not, whatever your musical style, Epiphone’s Spaceman Tommy Thayer signature Les Paul defines the modern classic ideal.

List Price $1,165.00

Manufacturer Epiphone Guitar Corp., epiphone.com

His first brush with success came in the Eighties with rockers Black ’N Blue, and now he’s the lead guitarist in Kiss. But what Guitar World readers really want to know is …

Is it true that you did manual labor tasks at Gene [Simmons] and Paul [Stanley]’s houses before becoming a member of Kiss? — Tony Ratoni

[laughs] Those are kind of urban myths. Sure, I started working for those guys part time in the late Eighties, and my credo was that I’d do whatever needed to be done. And a lot of times when you’re in those situations you do all kinds of things. I think, somehow, through all the speculation on the internet, people started saying that I did all these strange jobs. But nothing was strange. I was just a go-getter that would do whatever task was at hand, which is normal if you wanna get somewhere in your life. I’m proof that persistence works.

Your new Epiphone “Spaceman” Les Paul looks awesome. Have you always wanted your own signature ax? — Bill Meister

I’m stoked to have a signature guitar! It’s something I’ve dreamed about ever since I was a kid. I put my heart and soul into it and made it something I’m really proud of. I think it’s a great guitar and package, with the custom guitar strap and silver case. I started using it on our South American tour. I literally took one out of the box, and my guitar tech and I set it up. That goes to show the quality of the guitar: I can take it right out of the box and straight to the stage.

Have you ever had sex while in full makeup and costume? — Missy Frommer

Yes. [laughs] And we’ll leave it at that, okay?

Your solo on “Hell or Hallelujah” from Monster has a totally awesome classic-rock/metal feel to it. But do you ever have to remind yourself to pull back your playing so it’s not too over the top? — Hunter Clayton

There are definitely parameters to the Kiss sound. And nobody can argue with that, because it’s something that’s been proven for 40 years now. Since I’ve been in the band, I’ve tried to be faithful and adhere to what made Kiss strong and powerful in the first place. But in doing Sonic Boom a few years ago, and now Monster, I’ve had the opportunity to spread my wings more. It’s always a balance between the two. You have to be faithful, but I need to show my colors, too.

Dude! I loved your work with Black ’N Blue! Do you still see residual checks from “Hold On to 18” and “Miss Mystery”? — Kevin Katana

I don’t think Black ’N Blue was ever big enough to have super hefty residual checks. I do see some royalties, particularly the performance royalties. But as far as sales of the records, it’s bottomed out. It’s been a long time. I haven’t been in the band for 25 years.

What do you remember about the first time you played with Kiss in full makeup? And I have to ask: Why didn’t you pick another character instead of Ace Frehley’s Spaceman? — Steven Coronell

The first time was at a private corporate concert in Jamaica in early 2002. It was exhilarating and over the top, but also very comfortable. It didn’t seem that out of the ordinary. I had been around the band a long time, so I wasn’t new to the family. I’d also played in a Kiss tribute band in the early Nineties and we’d wear Kiss makeup. Actually, I even used to put on Kiss makeup as a kid. So it was more of a familiar feeling than not. It all came very naturally. But of course, you’re filling big shoes because there’s such a big legacy with Kiss. There’s high expectations and pressure to step up and do a great job.

And yeah, some people say, “Why didn’t you come in and introduce a new character?” It’s an interesting question, but when I got in the band I was just honored to be there. I also respected where they came from and what they’re all about. So who am I to ever suggest I need a new personality or a new character, or the band needs a new guitar sound or style? That’s ridiculous. Sometimes it just takes people a long time to understand that.

What is your favorite Kiss solo to play live? Do you always stick to the original recordings or do you embellish? — Lyn DeAngelo

One of my favorite Kiss solos, and songs, is “Black Diamond.” I got the Kiss album for Christmas in 1974. I think those guitar solos, and a lot of the solos on the first four Kiss records, are quintessential rock and roll greatness. I tip my hat to Ace, because back then he did some amazing stuff. That’s a big part of why Kiss appealed to a lot of up-and-coming guitar players like myself. He did some stellar guitar work on the first album, Hotter than Hell, Dressed to Kill and Alive!

Have you ever considered recording a shred instrumental album? — Bob Storcks

[laughs] I have to say, with all due respect to all the great guitar players out there, I’m not really a shred fan. My roots are in the hard rock, English blues style that started with people like Jimmy Page, Eric Clapton and Jeff Beck. That’s more my thing and probably always will be. My favorite guitar players are the ones that not only write great solos but also write great riffs and great songs. If it doesn’t have that, I don’t put it in the highest standard.

I personally love your guitar work. But I’m sure there’ve been times when it’s been difficult to be the replacement for Ace. Are some fans ever weird about it? Does that ever bother you? — Ema Bangle

Yeah, replacing somebody as great as Ace is very challenging. But at the same time, I feel pretty good about what I’ve done, and I know the band does too. There’s always gonna be dissenters and critics. That’s just part of the job, especially with the advent of internet blogs. People have the propensity to get on and say all kinds of stuff. That’s just this day and age. Honestly, I look at a lot of that as a reflection of the people that are saying it. It’s more of an outlet for their unhappiness or frustrations in life. I know what I’m about, so I don’t have any doubts about what I do or who I am.

You do a lot of charity work. How do you go about selecting the causes you support? Was community service part of how you grew up? — Eddie Nash

That kind of community service and helping other people comes from my father and mother. That’s the kind of people they are, and it rubbed off on me. The basic concept of helping other people is an important part of our civic duty. I grew up in the Portland area, and I’m on the board of trustees for Pacific University up there. I help with their huge fundraiser called Legends. It’s a music, entertainment and golf event. Then there’s the royalties for my Hughes & Kettner [Tommy Thayer Signature Duotone] head, which go straight to the Childrens Hospital of Los Angeles. We always need to help the younger, less fortunate people to get a step up in life. It’s really important.

What’s the worst, most uncomfortable part of wearing the costume each night? And are you able to apply your makeup yourself by now? — Harley Race

Everyone in Kiss has always done their own makeup, including me. It’s a ritual for us all to sit down and do it before we go onstage. Kiss is one of the hardest-working bands in show biz. We get started in the middle of the afternoon with soundchecks and meet-and-greets. Then there’s the makeup process, which takes two or three hours. We’re working hard way before the show. It shows when we get onstage: you can see there’s something really special in what we do. I don’t have any complaints or reservations about wearing the outfit. It’s a distinct honor. Who wouldn’t love being lead guitarist in Kiss? There’s nothing I can say negative about it! I just love it.

Your voice and playing on “Outta this World” [from Monster] is amazing! What is it like to bring in tracks for Gene and Paul? Do you have to have full demos prepared? — Enrico Palazzo

No, as a matter of fact, we decided not to do demos for Monster. We pretty much wrote all the songs organically: getting together at someone’s house or hotel room, if we were touring. We thought if we recorded all these good demos then we’d be fighting the demo-itis battle, where you’re trying to top the demo when you’re doing your master. We’d rather capture the true spirit and energy of the original.

Brad Angle Google +

It's hard to imagine that 10 years have gone by since Tommy Thayer officially took over as the “Spaceman” in Kiss.

It seemed only fitting that the Spaceman should don the Les Paul. However, as fate would have it, Thayer has been a longtime Les Paul player, even back in his days in Black and Blue.

[[ Keep up with Guitar World's NAMM 2013 coverage right here! ]]

Thayer's 10th year in Kiss — and the band's 40th year in business — is commemorated by Epiphone's release of its Tommy Thayer Signature Edition "Spaceman" Les Paul. Featuring an eye-catching silver-sparkle top and top-of-the-line components, and made as a limited edition of 1,000 guitars, this model is sure to become a must-have for Kiss fans around the globe.

We recently caught up with Thayer to discuss the new model in detail.

GUITAR WORLD: You've announced there will be a limited-edition Tommy Thayer “Spaceman” Les Paul from Epiphone. Will it be present at the 2013 Winter NAMM Show in Anaheim, California, later this month?

Yes, it'll be at the NAMM Show. And I believe it's already available through American Music Supply.

Can you talk about exactly what you did with the guitar and what makes it “Tommy Thayer” specific?

It's essentially an exact version of one of the Gibson Custom Shop Standards I've played on stage for several years. It is a silver-sparkle top, and the sides, back and neck are black. It has a cream binding. For an affordable guitar, it is a nice package. It’s using really good parts. We are using Gibson 498 pickups, which are the ones I use. The tuners are Grover Deluxe tuners. It's really well put together with good components and parts.

I've actually taken to playing the guitar on stage for the last bit of the South American tour for six or eight shows. I played it every night for part of the set. The guitar was great. I have one that I’m playing on stage, and you really can’t notice the difference between the Gibson and the Epiphone. The sound, the playability and the feel really pleased me. Comparing it to my Gibson Custom Shop guitar, it's right there. That made me really happy. The techs were saying they couldn’t tell the difference between the guitars. It's surprising in a good way.

The reason I decided to do the guitar this way was that the silver-sparkle top gave it a bit of a “Kiss” feel. But I didn’t want to introduce a guitar that was too stylized. I wanted a guitar that had some flash to it, but at the same time I wanted to offer a guitar that any pro musicians or guitar player that walks into the guitar shop will think looks cool. It’s not something that is so stylized that it will scare people away. I didn’t want it to have too much of a Kiss look to it.

Some guitarists’ signature-edition guitars are so specifically tailored that, as a consumer, you might hesitate. You might get up on stage and have to worry that people think you're a clone of someone. That has to be a double-edged sword with Kiss fans because some fans might want to get the guitar just because of Kiss.

That's true too, and that's why on the back of the headstock there is the Tommy Thayer Spaceman logo. But it's discreet; it isn’t too over the top. It has a look that doesn’t automatically make it look like Tommy Thayer or Kiss. Then again, for collectors, it's great because it's the guitar I play, and people can take pride in that.

As far as the paint, is it fairly similar to the Gibson Explorer you've played for years now?

I have a couple of Explorers that have the silver sparkle on them as well. We decided, though, that the flake of the sparkle would be less than the flake on my Gibsons. I didn’t want to make the size of the flake too pronounced. I worked a lot with Jim Rosenberg (president of Epiphone) and we went back and forth to find that perfect medium-sized flake. I didn’t want it to be too heavy. That could be the difference between someone loving or hating it.

That’s mahogany underneath?

Yes, that's mahogany and a rosewood fretboard like a standard Les Paul. It has trapezoid inlays. We have a nice package that it comes with too. We have an all silver hard-shell case. You don’t’ see that too often. That’s very Kiss! It comes with a studded guitar strap that is exactly like what I use on stage. It is a cool little memento. It also comes with a certificate-of-authenticity booklet with a signature and all that good stuff. It is a great value at the prize point.

Actually, I didn’t even talk to Gibson about doing a guitar and called Epiphone because I felt that doing a guitar like this that is high quality but still affordable was more appealing to me. Especially for people who don’t have $5,000 or $6,000 to buy a guitar. You get this great package, and it is really affordable and that was an important thing to me.

I think every guitar player remembers back to when they were young selling newspapers or whatever it was to get their first guitar.

My very first electric was a Fender Mustang and it was $135. My mom helped me buy it. This was back when I lived in Portland. We went across the river to Vancouver Music. For some reason, they had a great selection of guitars over there. This was back in 1973 or 1974. I was so overwhelmed. I couldn’t believe I actually had a professional guitar. Back in those days, it was either a Gibson or a Fender. I hadn’t established yet that I was more of Gibson player.

I think everyone remembers looking down at that headstock and seeing the brand of one of their guitar heroes.

Yeah, it was like a dream. It was a great blue Fender Mustang with the light blue racing stripes.

Epiphone's Limited Edition Tommy Thayer “Spaceman” Les Paul Standard Outfit is available for order now at tommythayerguitar.com with several autographed and stage-used options. The guitar also is available at American Music Supply for the $699 street price. The guitar includes the case, custom strap and certificate of authenticity.

For more about the guitar, head to epiphone.com.

Kiss will return to the road with their Monster tour in 2013 with shows in Australia and Europe already announced. For more info about the band, follow them on Facebook.