Cordell (Boogie) Mosson
Plainfield - NJ, US
Artist / Band / Musician
Welcome To The Official MySpace Page Of FUNKADELIC Bassist/Guitarist & SomeTime Drummer Rock & Roll Hall Of Fame Member CORDELL (BOOGIE) MOSSON
HELLO MY NAME IS CORDELL BOOGIE MOSSON & I AM A FUNKADELIC !!!!!
(That's All I Got To Say For Now More To Come !)
No good discussion of P-Funk is complete without a mention of the some of the baddest funk bassists in history. Unfortunately, the conversation almost always turns to either Bootsy Collins, an obvious architect of the P-Funk flavor of the late 70s or founding Funkadelic Billy Bass Nelson. Now that is not all bad in itself. These are some badd boys. However there is another somewhat lesser known bassman that was just as, arguably if not more important in the development of the band’s obscure early Funkadelia into the platinum-drenched Parliament chart-toppers & lavish road shows towards the latter part of the decade. His name, the legendary Cordell “Boogie” Mosson.
Just as comfortable behind the drum kit (check Parliament’s “Dr. Funkenstein”) or rhythm guitar (his role in the current touring invasion force), Boogie’s unique, propulsive approach to bass playing single-handedly offered up the foundation that by the end of the decade had launched the P-Funk into the outer regions of the Chocolate Milky Way. Oft referred affectionately to and dubbed the world’s only “Black Leprechaun” by celebrated artist Pedro Bell, Boogie, in his 35th year with the group lays claim as one of it’s true senior members.
First appearing on the sprawling Funkadelic double LP set of 1972, “America Eats its Young” it became quickly evident that no one on this earth handled the bass duties quite like Boogie. The way he seamlessly stretches the notes in a pocket without ever losing the power and bottom stroke of the downbeat on the one is just insane. You simply cannot duplicate it. For a brief intro into this Plainfield NJ style of thump, check the oozing, lather-like grooves of these preposterous P-Funk classics; “Loose Booty”, “Sexy Ways”, “You Cant Miss What You Can’t Measure” and “Nappy Dugout”, the latter of which he takes a simple lick of 3 or 4 notes and just turns it into a clinic on playing in front of and behind the beat.
That style made him the ideal candidate when George Clinton got set to blast Parliament off into a stratosphere of platinum dreams with “Mothership Connection” in 1976 with the P-Funk Earth Tour. Between Jerome Brailey’s bigfoot on bass drum, Bernie Worrell’s genius rhythm and synth arrangement and Boogie’s ‘intricate simplicity’ (check “Undisco Kidd” from the “Parliament Live” set)on the instrument, the band would build this immense tidal wave of groove night after night that simply Tore the Roof Off The Sucker!
As the band reached for its zenith the next year Boogie remained one of its brightest stars, moving and grooving audiences worldwide on the FlashLight Tour. In 1979, he appeared on-stage as “Rumpofsteelskin” as Parliament took the funk underwater for the Aqua Boogie Tour. After years of several side studio projects (including a brief stint with Brailey’s Mutiny) Boogie returned to the fold in the mid-80s as part of the P-Funk All-Stars Atomic Dog touring unit and has been with the band on and off ever since. Give the man his Heartbeat Props.
Essay ByFunk Journalist & Atlanta-GA-USA Radio Personality"Bustin" Bob Mitchell
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