by Eugene Chadbourne 　　What seemed for a long time like a fruitless search for this 1971 funk album came to a surprising climax when a pair of brothers were cleaning up a North Carolina lake-house where mucho partying had been going on. 　　 　　"Hey, what is this?" came a voice, its owner gazing upon a pile of stuff, old bait bucket on top, still soggy and mildewed pair of cut-off shorts closer to the bottom. 　　 　　This is where the David Porter album trip Into a Real Thing was located, explaining 　　 　　its condition. 　　 　　"This is found art." An orb the size of a basketball had rotted out of the center of the gatefold. The centerfold of the artist, whose glories days had been co-writing Sam and Dave hits with Isaac Hayes, now brought to mind accounts of Civil War battle wounds or the shark attack scenes in The Beach and Into the Blue. 　　 　　"Wasn't no art when it came out," responded the rare LP's co-finder, sniffing at its pungency. The find was not really important to the history of art, however, only to prove the existence of a version of "Hang on Sloopy" that goes on for more than 10 minutes. 　　 　　Prior to what became known as "the under the bait bucket discovery", extended versions of "Hang on Sloopy" were thought to exist only in the private archive of a jam band that meets on Thursday nights, coincidentally in Porter's hometown of Memphis, Tennessee. 　　 　　Suffice to say the Porter expansion, no doubt inspired by Hayes epic cover treatments of "By the Time I Get to Phoenix", comes closer to a car accident's hypnotic, charismatic effect on bystanders then any other album released in this particular decade. 　　 　　Shamefully these hipsters can't even get the bass part right to "Hang On Snoopy", not to imply that Porter did anything to the song unintentionally. He does plenty, both musically and lyrically, indeed it would have been hard for Sloopy to really hang on through the conditions concocted by Porter, including an amputation and the thrill of being ogled in the nude. Porter also name-checks his clients Sam and Dave for the first of several times. 　　 　　A fair soul lilt, "Ooo-Wee Girl" brings a quick close to the first side, quicker than 11 minutes anyway. "Too Real to Live a Lie" opens up the flip with some aggressive strangeness, then settles into an event that must have disturbed 　　 　　Aaron Neville, appropriating his "Tell It Like It Is" with the grace of a clam swallowing a peanut butter sandwich. 　　 　　Blasting trumpets and funky piano introduce the promising "Grocery Man", a dribble of congas patting away apprehension created by the repetition of the expression "sock it to me." The declarative chorus is stomped on by strings, electric guitar, then a horn interlude that sounds like background music to the decision between plastic or paper grocery bags. 　　 　　Covering a Larry Gatlin ballad is next off a '70s cocaine decision on many levels; nonetheless there is a great drum track and a few subtle moments before Porter himself is vocally outdone by a hostile choir. The final track, entitled "Thirty Days", is not the same song as the Chuck Berry hit, unfortunately--although it is doubtful that one would have benefited half as much from the atonal sounding string break.