Cor de Boo was guitarist with Nederglam band Dump, he's the blond guitarist with the wild Viking beard. On the Nederglam comp Clap your Hands And Stamp Your Feet, Dump is represented by their great Annabelle 45. Nowadays Cor is very much occupied with his current job as a guitar teacher, which he combines with doing guitar demonstrations in a music instruments shop in Hoorn, near Amsterdam. He also acts as a talent scout looking out for young guitarists (check out one of his most talented pupils here). Luckily enough he found some time to answer my questions, although that was only possible from behind the counter of the shop!
Dump only made two singles: Will You Still Love Me Tomorrow / You You (1974) and Annabelle / Baby Baby (1975), both penned and produced by Hans van Hemert, who was already a big name at that time in de Nederpop scene. Prior to Dumb, some members were already active in The Dallics, who later became Dallic Control and who made two 45s in the very early 70s.
How did you get in touch with with Hans van Hemert?
He was trying to get in touch with us, as he had heard some good things about us. Apart from that, at that time I was also an accomplished Indian sitar player. He wanted to use that instrument to sweeten up a song he had recorded with Lenny Kuhr (* dutch lady singer). "Land van melk en honing" ("Land of milk and honey") that song was called. I remember playing my sitar all afternoon in the Wisseloord Studios. I was trying to create different moods, because after all a sitar is very different from a guitar as it is less flexible. But it was fun to have done that.
Cor in full sitar action
Were you still called Dallic Control at that time?
No, I think we just about changed our name to Dump by then.
Will You Still Love Me Tomorrow, that's a cover version of girlgroup The Shirelles, written by Carol King / Jerry Goffin. Whose idea was it to record that?
We didn't really think it suited us, but it didn't occur to us to point it out. The idea came from Hans, the arrangement too.
Dump toured communist Poland a couple of times around '75, as a support act to Polish bluesrock band Break Out. How was that?
That was great! We played 2000 to 7000 capacity venues. That's really different from those little 500 seaters we were used to in Holland. We performed twice a day, each day in a different city. In the afternoon at 16.00 hrs and in the evening at 20.00 hrs. After the evening show we would return to our hotel, and early next morning we would drive to the next town. We toured the whole country, I remember cities like Katowice, Wrocklaw, Warsaw and Lodz. But there were more, as the tour lasted three weeks with only a few days off in between. By the way, it was the other way around, Break Out were supporting us!
And what about the daily reality of communism?
We hardly noticed any political stuff going on. Except the poverty and the badly maintained roads and old people everywhere sweeping the streets with those big brooms. In Warsaw an old lady took care of us with tea and such, although we couldn't really communicate, she didn't speak Enlish or German, let alone Dutch. You know as foreign artists in those communist times you got paid quite well, but it was all in Zloty's (* Polish currency) and one couldn't export that money or exchange it for dollars or Deutschmarks, so in fact there was almost nothing you could do with that money. So after one of our last shows we gave that lady a big pile of money. She couldn't believe it, she probably never saw so many Zloty's in het life, I still remember her backing off at the sight of it. That sounds nicer than it was though, I sort of felt guilty, there was hardly anything we could buy there with that money, so we just gave it away. But for her it was an enormous amount of money.
Dump-truck with built-in old airplane seats
How was touring with Break Out?
They were the biggest Polish band at the time, they played a traditional kind of bluesrock. I remember one night a crazy on-stage stunt of ours didn't really work out well and the neck of my guitar got broken. So I borrowed a guitar from one of the Break Out guys and it struck me that they apparantly didn't stretch the guitar strings, because every time I hit a powerchord the guitar was out of tune again.
I remember some old dutch music mag running a little article about Break Out touring Holland at about the same time. It said they had a car accident here, with someone severely wounded. Where you involved with that tour in any way?
I know they'd been in Holland a couple of times, but think you better ask Fons Vreeker (* Dump piano player) about that. He had the contacts with the manager. But I do remember that our road-manager totally crashed out one night on drinking too much of that vodka they brought with them.
How did Annabelle come about? In which studio was it recorded, were there session musicians involved?
That was done in the then famous Wisseloord Studios. Of course there were also session musicians involved, there were strings and horns for instance.
How did you co-operate with Hans van Hemert? Was it for instance a (hmph..) common creative process or did he just push his own ideas?
There was always some form of co-operation going on, sometimes our ideas would be adopted, but then again those ideas were only about details. Hans used to have his own private ideas, you know. For instance during the recording of Annabelle we were supposed to do some background singing, and then we suggested to Hans "why don't you make it sound like dump-dump dump-dump-peedoowah", and he liked that, so he kept in the final mix. But I tell you he did some extra work on that track after the recording and we only heard about it after it was all finished. You know, normally we would play heavier stuff than Annabelle, but we understood that you had to record radio-friendly songs like that to gain attention so we were cool with that.
I really dig Annabelle. How the hell was it possible that it didn't become a hit, you reckon? Do you have an explanation for that?
It probably wasn't good or commercial enough. In my view making a hit record depends on a lot of circumstances, sometimes everything comes together really well and sometimes things don't, it's as simple as that.
Dump performed both singles at Van Oekels discohoek TV-show. Were there other TV or radio shows you did, I read something about a TROS-tv-show?
I can't remember that. Because we were essentially a live band, always fooling around with the audience and ourselves. In that respect we were a bit like Dizzy Man's Band really. You know, we always did a lot of cover versions, songs from Uriah Heep, Deep Purple, you know the heavy kind.....we always ended our shows with smoke machines, fire crackers, stroboscopes and such. We did that while playing "Born to be Wild" at the end of our shows, during that song we would stand all in line at the front of the stage and we would stamp our boots so hard and so loud that we always managed to destroy the stage boards. That was wild, the audience loved it. Of course we always footed the bill for the damage later on, we didn't wanna cause trouble. But most of the time those venue guys enjoyed it too because it was a great show!
Did Dump, except for the four songs that appeared on vinyl, record any other songs?
I can't remember that. We were mostly focussed on our live perfomances.
What was the main reason that Dump broke up?
I don't know, I quit in 1975 as I was about to get married. But if there's any truth in the saying "never change a winning team", then maybe indirectly and unpurposely I was the cause of Dump breaking up, haha. Anyway, I had a tremendous time in that band, we went through a lot of great adventures together. I still see Fons often, in fact he's my bookkeeper now! We'll probably remain good friends for the rest of our lives. By the way, this Clap Your Hands-cd looks great man, can you send me some more copies, so I can pass them on to the guys?