For fans of George Clinton and "P-funk," the boisterous style of rock-and-soul he godfathered, 1990 has been a joyful year.

One of the earliest, hardest-to-find albums Clinton ever produced -- Parliament's "Osmium" in 1970 -- was reissued in Europe as "Rhenium," the CD including three more rare tracks. It is widely available here as an import.

PolyGram has reissued, at more affordable prices, all of the studio albums Parliament did for Casablanca Records during the mid- to late '70s, constituting the artistic and commercial pinnacle of P-funk. This allows fans such unexpected pleasures as the discovery of an extra minute of Bernie Worrell's keyboard jamming at the end of "Aqua Boogie."

The back catalogue of Funkadelic -- the more experimental, guitar-oriented branch of the P-funk tree -- is being re-released more stingily by Michigan-based Westbound Records. But this month, Westbound's European distributor unveiled an electrifying double-CD package, "The P-Funk All-Stars Live," recorded seven years ago in Los Angeles. It's a scarce find, for now, in the States.

All of this has given a boost to Clinton's old confederates.

Bernie Worrell: 'Funk of Ages' The triumvirate of Clinton, Worrell and bass player Bootsy Collins got the songwriting credit on many of Parliament's greatest hits ("Flashlight," "Mothership Connection," "Dr. Funkenstein"), but they haven't raised as much heck separately. That goes for Worrell's new solo album, "Funk of Ages" (Gramavision).

His reputation as the keyboard wizard of P-funk, plus a busy independent career as a sideman and session musician, have gained Worrell some heavyweight friends. Keith Richards, Herbie Hancock, David Byrne, Sly and Robbie, Vernon Reid and Phoebe Snow are among his guests on "Funk of Ages." As that list suggests, the album contains a provocative array of styles, from dance pop to hard rock, reggae to experimental.

The results are mixed. Worrell, not much of a singer, detracts from the softer songs that rely on a melodious lead vocal ("Real Life Dreams," "Sing"). And Gramavision has chosen the sterile pseudo-hip-hop track "B.W. Jam" as the first single.

When Worrell's fingers do the walking, though, "Funk of Ages" comes alive. In his collaboration with Collins on the old chestnut "Ain't She Sweet," one is reminded of the wit with which Worrell can move up and down a scale. "Funk-a-Hall-Licks" is a smooth, solid groove that revives a classic Parliament riff at the end. "Y-Spy" moves with slow, seductively funky growls of guitar and clavinet.

The most fun to be had is with the swinging "Don't {Tick} Me Off," co-written by Jerry Harrison of Talking Heads, which pairs Snow with P-funk veteran Gary "Mudbone" Cooper on lead vocals. Old Funkadelic fans will also be tickled by "At Mos'Spheres," a revival of Worrell's 15-year-old mood exercise for organ and synth.

Maceo Parker: 'Roots Revisited' During the summer, former James Brown and P-funk sax hero Maceo Parker released a five-track EP of slick, hard funk, "For All the King's Men" (4th & B'way/Island), combining modern machine-driven beats, old-fashioned honking horns and the gutty voice of Bobby Byrd. With "Roots Revisited" (Verve/PolyGram), a full-length instrumental project, Parker offers a daring change of pace.

With fellow JBs Pee Wee Ellis (tenor sax) and Fred Wesley (trombone), Parker takes his sweet alto on a wondrous exploration of swing, bop and soul. He has assembled a tight sextet that breezes through straight-ahead arrangements of tunes by Charles Mingus ("Better Get Hit in Yo' Soul"), Charlie Parker ("Jumpin' the Blues"), Ray Charles ("Them That Got") and Curtis Mayfield ("People Get Ready").

But the standout cuts on "Roots Revisited" are Sly Stone's "In Time," the album's lone funk workout, featuring Bootsy Collins and a jagged drum attack by Bill Stewart, and "Children's World," Parker's own composition. More than 10 minutes long, "Children's World" is a simple, organ-haunted soul ballad in the best tradition of James Brown, and provides a particular opportunity for Ellis to shine.

Limbomaniacs: 'Stinky Grooves' Raucous post-punk rockers are getting hip to P-funk, and San Francisco's Limbomaniacs are an exemplary Clinton-influenced white rock band. "Stinky Grooves" (In-Effect) is fueled by basic, churning guitar riffs and tight-fisted beats, but the front man, who goes by the name Butthouse, raps. Usually about sex. The album is full of crazed humor.

For guest funksters, the Limbomaniacs went top-drawer -- Collins seems to be having more fun in their song "Butt Funkin' " than he does on his own "Jungle Bass" 12-inch. Maceo Parker's horn work also fits nicely over their chugging rhythms in "I Like It." All of it is sharply produced by Dave Jerden and Bill Laswell, the latter a familiar contributor to recent projects by Worrell, Collins and Parker.