Osmium [Osmium...Plus]

Performer: Parliament
Producer: George Clinton; Ruth Copeland
Distributor: n/a

Notes: Personnel: Clarence "Fuzzy" Haskins, George Clinton , Grady Thomas, Raymond Davis, Calvin Simon (vocals); Eddie Hazel (guitar); Bernie Worrell (keyboards); Billy "Bass" Nelson (bass guitar); Ramon Tiki Fulwood, Tyrone Lampkin (drums). Liner Note Author: Dean Rudland. Recording information: H-D-H Sound Studios. Unknown Contributor Role: Tony Rounce. The first Parliament album, OSMIUM, was a mixed-up mess of an affair, but would anyone expect anything less? The overall sound is much more Funkadelic than later Parliament, if with a somewhat more accessible feel. Things get going with an appropriately leering start, thanks to "I Call My Baby Pussycat," which makes something like "What's New, Pussycat?" seem like innocent, chaste conversation. After a stripped-down start, things explode into a full-on funk strut with heavy-duty guitar and slamming drums setting the way. The singers sound like they're tripping without losing the soul-sudden music dropouts, vocal cut-ins, volume level tweaks, and more add to the off-kilter feeling. OSMIUM's sound progresses from there--it's funk's fire combined with a studio freedom that feels like a blueprint for the future. Bernie Worrell's keyboard abilities are already clear, whether he's trying for hotel lounge jams or full freakiness; similarly, Eddie Hazel is clearly finding his own epic stoned zone to peel out some amazing solos at the drop of a hat. As for the subject matter and end results--who else but this crew could have come up with the trash-talking, yodeling twang of "Little Ole Country Boy" in 1970 and still made it funky with all the steel guitar? Other fun times include the piano and vocal-into-full-band goofy romantic romp of "My Automobile" and "Funky Woman," where over a heavy groove (and goofy Worrell break) the titular character lives with the consequence of her stank: "She hung them in the air/The air said this ain't fair!" Amidst all the nuttiness, there are some perhaps surprising depths--consider "Oh Lord, Why Lord/Prayer," which might almost be too pretty for its own good (Worrell's harpsichord almost verges on the sickly sweet) but still has some lovely gospel choir singing and heartfelt lyrics. The first Parliament album as such was a mixed-up mess of an affair -- but would anyone expect anything less? The overall sound is much more Funkadelic than later Parliament, if with a somewhat more accessible feel. Things get going with an appropriately leering start, thanks to "I Call My Baby Pussycat," which makes something like "What's New, Pussycat?" seem like innocent, chaste conversation. After a stripped-down start, things explode into a full-on funk strut with heavy-duty guitar and slamming drums setting the way, while the singers sound like they're tripping without losing the soul -- sudden music dropouts, vocal cut-ins, volume level tweaks, and more add to the off-kilter feeling. Osmium's sound progresses from there -- it's funk's fire combined with a studio freedom that feels like a blueprint for the future. Bernie Worrell's keyboard abilities are already clear, whether he's trying for hotel lounge jams or full freakiness; similarly, Eddie Hazel is clearly finding his own epic stoned zone to peel out some amazing solos at the drop of a hat. As for the subject matter and end results -- who else but this crew could have come up with the trash-talking, yodeling twang of "Little Ole Country Boy" in 1970 and still made it funky with all the steel guitar? Other fun times include the piano and vocal-into-full-band goofy romantic romp of "My Automobile" and "Funky Woman," where over a heavy groove (and goofy Worrell break) the titular character lives with the consequence of her stank: "She hung them in the air/The air said this ain't fair!" Amidst all the nuttiness, there are some perhaps surprising depths -- consider "Oh Lord, Why Lord/Prayer," which might almost be too pretty for its own good (Worrell's harpsichord almost verges on the sickly sweet) but still has some lovely gospel choir singing and heartfelt lyrics. [This edition feature the bonus singles "Breakdown," "Red Hot Mama," and "Come in Out of the Rain," as well as outtakes from the Osmium recording sessions.] ~ Ned Raggett

Record Collector (magazine) (p.94) - 4 stars out of 5 -- "An astonishing work, it melded explosive R&B with lascivious lysergic soul, hysterical country and delicious gospel."

The first of P-Funk mastermind George Clinton's many bands, Parliament was formed in the 1950s as a doo-wop group called the Parliaments. In the early 1970s it became one of several outlets for Clinton's outrageous blend of funk, rock, and the absurd. Originally intended as the more traditional foil to Funkadelic's progressive leanings, Parliament was eventually enveloped by the same over-the-top theatrics as all of Clinton's other projects.

Click Here for Shipping Options and Policies

Shipping or Dimension weight in pounds: 0.5