By the end of the summer 1995, Franklin and Fracture had completed our second US tour. However, the tour of 1995 included destinations north in the great white hope that is, CANADA!

We snuck across the border using forged documents that claimed our bands were visiting the country to record music (a very common practice in those days). Which to the Canadian Mounted Police meant, we were Americans entering the country to spend money. Without these documents, bands were forced to pay taxes on the meager earnings they made and in many instances, were simply denied access into the country entirely.

While in Canada, we met a fella named Yannick Lorraine. He ran a record label called The Great Steak Religion. I never asked Yannick why his label was called this, but he was an awesome French Canadian and his label, at the time, was putting out some pretty wild stuff. Primarily, he was focused on serious grinding music…music that offered complete brutality like Shotmaker or One Eyed God Prophecy and the like, but for some reason, he dug on Franklin and he asked us to record a 7″ for him. While this seemed odd at the time considering the bands he was known for releasing, we jumped at the chance for two reasons.

1. He wanted to put out a recording of our band. Good enough reason.

2. Yannick’s label was known for having some really beautifully designed album covers. Again, considering this was before the internet age had taken hold and home computers could do little more than play Pong, it was reason in of itself.

Thus, we were 100% down to record for Yannick. We headed back to Baltimore once again to record with Charles Jamison and we knocked out three songs. It’s interesting to note that I started this blog off with a song from this recording entitled, The Nuda. For more details about this song and what I consider to be it’s importance in Franklin’s history (if you care!) jump yonder.

As I’ve said before, I always preferred Franklin on 7″ rather than album. It seems like we had more focus when we were working within a limited scope. This 7″ was a key moment for us as a band. Not only because of the stylistic changes that were clearly happening, but more so because our beloved Roy Binnion was leaving the band. Roy had decided to make some changes in his life and to our sorrow, leaving the band was one of those changes. We named the 7″, Roy Is Dead in honor of his leaving. Also because we thought it would be funny to recreate our own version of the Beatles, Paul is dead thing. So for the cover of the seven inch, we turned Roy’s back to the camera for his portrait, colored his image blood red and included lots of odd death references. It was a lark.

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However, we were startled to find that within months (remember, this was before email!) letters would start arriving from folks who had seen or heard the record asking if our bass player Roy had truly died.

Not exactly what we were expecting, but our darker sensibilities loved the confusion and so, from time to time, we would indulge certain inquiries explaining that yes, in fact, Roy had died.

The Roy Is Dead 7″ was released with only the songs The Nuda and The Didelpho. No markings on the 7″ cover of song titles, nor labels on the 7″ indicating side a or side b. I suppose that might have been a little annoying, but we liked it.

For the first time however, I’ve dug up the third song we recorded during this session. A song called The Baptisto. We played it many, many times live but never released the song in any official capacity. So, hope you enjoy it!

The Nuda

The Didelpho

The Baptisto