Larry "Wild Man" Fischer was without a doubt one of the most colorful and idiosyncratic musical artists to emerge from the frenzied 1960's Los Angeles psychedelic rock scene. A diagnosed paranoid schizophrenic and manic depressive, Fischer's mental problems both hurt and helped him in equal measure. On one hand, the psychological demons that plagued Fischer throughout his anguished existence resulted in music that's shockingly raw and alive in its unbridled eccentricity. On the other hand, Fischer was his own worst enemy, as his volatile and unpredictable nature made him difficult to be around and care about, resulting in the alienation of both friends and family alike and further putting the kibosh on any chance Fischer might have had in achieving the rock music stardom he desperately yearned for. That said, Fischer did manage to record several albums that include a now legendary double album collaboration with Frank Zappa (who eventually dumped Fisher after realizing how dangerously unstable he was) and the very first album for Rhino Records as well as recorded a duet with Rosemary Clooney called "It's a Hard Business." Amongst the people interviewed are Larry's exceptionally tolerant and long suffering older brother David, Barnes & Barnes (they did two albums with Fisher in the early 1980's), Dr. Demento, Weird Al Yankovic, Mark Mothersbaugh of Devo (who describes Larry as "pure"), and even soulman Solomon Burke (who gave Larry his Wild Man nickname). The archive footage of Fischer in his gloriously loopy 1960's prime is absolute gold (he even appeared on "Rowan & Martin's Laugh In"!); ditto the footage of Fischer live in concert in 2001. However, this documentary sometimes borders on the uncomfortably voyeuristic with the interviews done with an aged, burnt-out, lonely, and friendless Larry in the present; it's both sad and upsetting to see Fischer degenerate into a quivering ball of paranoid nerves in front of the camera, yet these scenes are vital in presenting Fischer in a warts and all manner. Stripping bare both Fischer's tortured soul and unbalanced mind, this documentary rates as essential viewing for fans of this quintessential embodiment of true outsider music.

It is hard to separate a documentary from it's subject. The film was entertaining and insightful. It captured the life of Wild Man in a way that was honest and insightful. I really enjoyed the inclusion of his family as well as his past friends and collaborators. What I found hard to stomach in this film was his music - and a few of his 'critics' who thought his music was original outsider art/music. I could not fathom anyone thinking his lyrics and especially his music anything but naive babble. I know that a big part of outsider art is it's naiveté and that it is sometimes hard to find the core of creativity in this. But usually something - composition, a vision, a perspective - something comes through to make it art. His music is mostly spontaneous ramblings that have no coherence. I've heard much of this sort of thing coming from toddlers and preschool children. I composed some great tunes to my dog last night (but I may have obscured my tunes in too much irony to qualify as outsider music?) One of the critics, I believe it was the Rhino records executive, started to analyze one of Wild Man's tunes as if it were a clever comment on society and I laughed out loud. I think he is most akin to the dadaists - and most of their work has not stood the test of time - and is more important as a historical movement than an artistic one. Can you name a Dadaist - besides Man Ray or Marcel Duchamp (both of whom may also be classified in other artistic movements). But opposed to the Dadaists, his music is not really protesting anything - and is not (as the really annoying Mark Mothersbaugh in this film suggests) reacting to prevalent musical trends occurring in the late 60's and 70's - resulting in a nascent punk genre? Mothersbaugh's contention that the white-get-drunk-party 'concert' rock of the 70's as being bereft of meaning and conformist is ridiculous. His music is the answer? I have Devo albums and although I like them still - they are silly, pretentious at times, and hardly have any deep meaning. I also have some Styx albums (an example of the concert rock genre) - and although also silly and contrived at times, I believe have more heartfelt and sincere sentiment (mostly non-conformist at that) in the lyrics than most new wave (is this even a music term anymore) or punk tunes. 'Concert' rock was perhaps over-produced, and punk - under - but both were often saying very similar things. Disco however.... (Although I like some Disco too - usually in an ironic way - but then again that foot sometimes starts tapping itself into places where the ears fear to tread).Now I have to compare this to another documentary that I saw a few years ago - 'The Devil and Daniel Johnston' the subject of whom is mentioned in Derailroaded (most annoying title of a film?). See this film if possible - it's finally released. This film is amazing! It brought me to tears - in several scenes. The film haunted my dreams, early morning groggy thoughts, and daydreams. And Daniel Johnston, as opposed to Wild Man, is an artist. His music has a point and is almost pure emotion that sometimes tears you apart. (Not so sure about his visual art). Wow.The pathology of each of these people is rather similar, although mention was not made of Wild Man's drug use (if there was any), and it was a prominent part of Daniel Johnston. However, the personality of each is markedly different. Wild Man - I find very annoying - I think that I am on the side of his family here. I did not believe his depiction of his mother, Frank Zappa, or most other people in his life. Not only is he schizophrenic, and bi-polar (I think manic depressive is actually more descriptive here), but he is also self absorbed, selfish, and egocentric. Daniel Johnston is none of these things. So this makes it also hard to separate these films - Johnston is likable - Wild Man is not. I've know a few people like Wild Man (without the extreme pathology) and have had to work with them - it is not fun - extremely exasperating only touches the surface of a description of the experience. Maybe this personality type is so antithetical to mine that I can not judge the merits of this film objectively - but isn't that true for many of us?

I saw Derailroaded at the ICA in London and I am thrilled to see it is being released on DVD. This film stuck in my head for days (as well did the song "Merry Go Round"). I was not aware of Wild Man Fischer, or any Outsider Music for that matter before seeing this film. My sister was diagnosed with schizophrenia in 1998 and I often watch films with themes of mental illness. This is one of the best films I have ever seen about mental illness and definitely the best documentary about a rock musician I have ever seen. I find that most rock documentaries and "bio-pics" about musicians share the same theme: Talented musician gets hooked on drugs, falls in love, gets off drugs, dies. Many studios feel that if they find someone that closely resembles Ray Charles or Johnny Cash, it is an excuse to make a film. Obviously, these films make money and become popular, but to me they are growing very old. Wild Man Fischer has lived a one-of-a-kind life and has a one-of-a-kind-mind...and Derailroaded is a one-of-a-kind experience. An amazing, heavy, unique rock and roll story, told with passion and sensitivity by the Ubin Twinz. It is often humorous, but not exploitative. This is a BRILLIANT film and now it's one of my new favourites.

Derailroaded might be about music, but Wild Man Fischer isn't particularly musical in any conventional sense. More of an outsider artist, or maybe just an exploited freakshow, suffering from paranoid schizophrenia and creating during his manic peaks. This is more a study of mental illness than anything else, and we see Fischer beginning to treat the film crew as he has finally treated everyone who has tried to help him in the past. Notable scenes include a re-enactment of an interview between Dr. Demento & Frank Zappa, done with puppets, in which each reveals to the other just how beyond-the-pale crazy Fischer is.