JOHN MCBROOM. VOCALS. GUITAR.

JOHN MCBROOM. VOCALS. GUITAR.

One of John McBroom’s first memories is of his dad dancing around the living room with John in his arms, listening to his dad’s favorite jazz. Another is seeing a strolling jazz guitarist at one of his parent’s parties and being allowed to strum it. There’s a picture to back it up, though John is unsure if the picture is the memory or if he does remember the Di Angelico New Yorker. John is the youngest of five kids, and much to their chagrin, he had access to most of his sibling’s records, of which he listened to them all from the Kingston Trio to the Grateful Dead. With the plethora of singles, the Beatles were his first musical true love. Then came Elton John, Stevie Wonder, and a multitude of anything his siblings would let him touch that sounded good to John’s ear. But, it was when he heard Whole Lotta Love on Led Zeppelin II at eight years old that he was hooked to the sound of the guitar. 

At twelve, John’s parents got the upgrade from HiFi to Stereo, and it changed everything. His sister Liz just got Steely Dan’s Aja, Jon Luc Ponty’s Enigmatic Ocean, and Grateful Dead’s Terrapin Station, and with stereo headphones it was like exploring a new sonic world where there were no limits. John spent hours listening to whatever was available. Some of his dad’s jazz collection was inspiring to John as well, including Erroll Garner who stood out as one of the most versed improvisors, able to call and respond, reacting to anything from the drummer’s ride cymbal to the melody of the pop tune of the day. John learned all music was connected, and while giving music a genre made it easier to classify, in the end the organization was only a means to sell a product.

Around the same time, John’s brother Steve helped to open and run a new music venue in Blacksburg, called 117 South Main in the early to mid ‘70s. While John wasn’t supposed to be there, he was able to witness a few shows, officially making music “the coolest” in John’s mind. His brother would also sneak John into clubs when he was kid to see bands like Stillwater and Sea Level, which made a mark to last a lifetime, sparking a fevered curiosity to explore. By that time, John had decided he wanted to learn about music. Noticing this curiosity, his mother contacted the woman who had given all his siblings piano lessons, Mrs. Beasley. She asked my mother one question before declining. “Boy or a girl?” John’s sister was quite accomplished at the piano, but his brothers gave a different impression altogether. 

Still interested in learning, John wanted to play trumpet in the fifth grade, but because he was big for his age, the school thought he should try saxophone. It was a tragic mistake. John couldn’t make the same sound twice, regardless of how hard he tried. John’s teacher told him in class one day, “You should find a sport you can excel at, because music just isn’t your thing.” Later that night, when recounting the story to his folks, his dad said, “You do sound like a dying cow.” Unfortunately, truth was truth and he dropped the pursuit of playing saxophone, but he did not drop the pursuit of making music. The next year, John began playing violin, and with strings, everything worked out much better. His instructor, Joe Corne was an amazing mentor who reminded John again of the fact he learned early on, that music had no limits. It just depended on how you heard the world, or more so, how you listened to it.

John’s older brother, Swede was also a musician, but because of the age difference, Swede was more of a cool uncle than an older brother to John. Back in the late ‘70s and early ‘80s Swede was playing guitar, percussion and fiddle in a zydeco band in Scotland. He would travel with a guitar when he would come to visit and would often let John play it. Then one time he didn’t. Early on in that particular visit, Swede took John down to Southern Pawn in downtown Roanoke where Swede taught him the fine art of haggling. Long story short, Swede got a $1000 guitar for $400, along with a hard-shell case. The rest of the visit Swede would let John play it as much as he wanted. But when Swede went back to Scotland, he put it on the top shelf of their dad’s old closet and forbade John to touch the guitar while he was gone. At that time, Swede was big to John, and maybe a little intimidating. But being several hours away, John figured he would know if Swede was coming into town and would have time to put the guitar back. No such luck. Sadly, their uncle passed away, and Swede came back unexpectedly for the service. 

Swede’s first question to John was, “Where’s my guitar?” John took him to his room where the guitar leaned up against his bed, two floors away from where it was supposed to be. John figured he would never see the light of day again when his brother pulled him in close, like only a big brother can, and said, “glad it worked!” It was a set up. He knew a forbidden guitar would be too irresistible to John, ensuring that John would catch the bug.

Soon after, John went away to school to finish out high school, where he would play any instrument he could get his hands on. Mainly finding drums and guitars, John borrowed them whenever he could. During this time, most of John’s friends were all trying to learn some sort of instrument. When his buddy, Bradley got a Gibson ES 335 at sixteen, it changed everything. Bradley started playing out in the world, which woke a desire in John to be a part of the music he’d always loved to watch. It wasn’t long until one Thanksgiving evening when he was 18, John got his first chance to play in front of people. John’s brother had loaded him up on tequila shots, and somehow through the liquid courage, John ended up on the makeshift stage playing bass on Bob Dylan’s All Along the Watchtower with most of the Rick Buckland Blues Band. John remembers the rush of playing music live with other musicians even through the flush of the tequila. From there, John would play along with anyone that would let him; initially on bass, then drums and then finally guitar. It took several years for him to find the confidence to sing. 

In college, John played drums in a band called the Opposition with Bradley Carr and Timbo Sims. They were the house band for the only “fraternity” at Ferrum College. The Opposition generally played in a place called the White House which was known to be a haunted turn-of-the-century farmhouse which served as the living quarters for most of the fraternity. During this time, John also acquired his first PA system and began dabbling in the realm of running sound and producing musical events. Belly Acres in Craig County was John’s first weekend event running sound, with just two large speaker cabinets, a six-channel board, and a couple of microphones. It was a start of things to come which John could have never imagined.

In 1986, John moved to Colorado, started a family, and began truly learning about bands. Though the bands never quite took off, John played drums and guitar at several parties and gigs, clocking time and gaining field experience on the instruments. The most epic of parties taught John, sometimes the hard way, how to act and how not act while trying to perform music. 

At the end of 1992, John and his family moved back to Virginia where he reconnected with his friends Bradley Carr, Timbo Sims, and Thomas Wilson who were in a band called Nice Day for Something. John, wanting to hang out, went to their rehearsals and sat in during breaks. Then, eventually the other guitar player stopped showing up. Once Roy ’Pops’ Duncan came on the scene, they became the band Red Weather. The new Red Weather band played their first show on May 22, 1993, at Clancey’s, which was the old Barrel House in Salem, Virginia. By Labor Day of 1999, Red Weather played about 800 shows, and recorded three CDs; self-titled Red Weather in 1994, All Gonna Shine in 1996, and It’s A Love Thing in 1998. And, of course, they had a real good time doing it.

In 1999 a few members needed to make lifestyle changes, and Red Weather came off the road. They played a few dozen concerts, benefits, and parties until the untimely death of drummer, Thomas Wilson in 2015. Over the years following, John has been in many bands which shaped his voice and style such as Blue Mule, GOTE, Leonard Blush & the Camelcals, and Kerosene Willy. Outside of bands, John remained true to his love of music and community; teaching math, science, and music to high school students, as well as becoming rather heavily involved in regional music festivals and venues. Bradley, John, and Timbo crossed paths in various groups and countless sit-ins, always dreaming of bringing Red Weather’s music back to today’s audience. So, in 2024, after a little coaxing and a lot of intent, the core writers of Red Weather joined a new talented new rhythm section from John’s previous musical explorations; Jay Gladden on bass and Matt Leonard on drums, not to recreate the past, but to see what happens in the next chapter that is Freak Rangers.