Turn Me Loose: The Francis Dunnery Story

Francis Dunnery is an English born musician, singer-songwriter, and record producer, best known as the lead singer and guitarist for the British prog-pop band It Bites.

After leaving the band in 1990, he launched a diverse solo career, releasing over ten original albums spanning progressive rock, pop, folk, R&B, and blues.

A versatile musician, Dunnery has also worked extensively as a sideman and musical contributor for major artists, including Robert Plant (Led Zeppelin), Carlos Santana, Lauryn Hill, Chris Difford (Squeeze) James Sonefeld (Hootie and The Blowfish and Ian Brown (The Stone Roses).

Beyond music, Dunnery is a multi-media artist who incorporates humor, philosophy, and astrology into his work, notably through his unique House Concert series. He is also the founder of The Charlie and Kathleen Dunnery Children’s Fund, a charity dedicated to children’s health and wellness in his hometown of Egremont, Cumbria.

I sat down with Francis and we discussed everything from the inception of It Bites and their worldwide fame, through the up’s and downs of being on the road, onto his solo career, and, of course, what he is up to these days.

It Bites (1982-1987)
Taking things from the top, and back in 1982 the prog-pop-rock band It Bites were formed – and were one of my personal favorites to turn to when I needed to feel good about the day – but then they disbanded in 1983! But then they reunited in 1984 (with everyone now in London) and for two years you guys did what you could to become successful; although it wasn’t until 1986 when things began to take off. So what was happening within those two years (1984-1986) that you can now recall as being turning points for the band? - “We literally sat in a squat in Peckham and wrote songs day after day. Hardly any food and a load of hope. Smoked a whole bunch of cigarettes, smoked pot and dropped acid when we could get hold of it!”

At what point during those two years did ‘Calling All The Heroes’ first originate and was it the version that we all know and love today? - “I don’t know the actual day or date, but it was a part of those early songs that we wrote.”

And what was it lyrically all about? - “I don’t know. Some story about good and evil. In hindsight, and from a Jungian perspective, probably a story about how you need to be aware that certain negative traits in your own personality can completely f**k your life up. Or a cowboy story!”

The Big Lad in the Windmill was one of my go-to albums of 1986, the vinyl getting played almost daily for a while, so in reflection what did the release of that LP mean to you at that time? - “It meant we had achieved access to the golden castle. To have a record deal meant you were a apart of the elite. You had a shot at showing the world your songs.”

And, for the record (no pun intended), just who the heck was this “big lad” you speak of? - “It’s a Cumbrian term. My mother used to call my brother that. The big lad. It’s very Northern. The titles were all born out of pot so who knows wtf it meant! I think it should mean whatever you want it to mean. I don’t want to ruin anyone’s perception of it.”

It was around then that your second single ‘Calling All The Heroes’ hit #6 on the UK charts and all was right with the world! How did it feel to suddenly be propelled not only onto the radio but onto the TOTP stages also? - “To be honest you don’t really have time to think about it. You’re just thrust into this world of interviews and shows. I wasn’t at my best during those years, so I don’t recall much of it. It was all very unconscious.”

Taking a look at your performance on TOTP in 1986 [see below] and what comes to mind about that day and your performance? - “I don’t recall it. I was in it. I have no thoughts about it, sorry.”

It Bites - “Calling All The Heroes” [Top Of The Pops - Thursday 14th August 1986]

You have been quoted as saying that if it wasn’t for that song nobody would have ever heard of you! You said it based on the fact that It Bites was playing prog rock, which you believed was the most un-hip thing imaginable, that you knew nothing about making hits or even cared about being high in the charts, and yet ‘Calling All The Heroes’ is a home run of a pop-rocker. So did the band just decide to write a song for the radio/TOTP crowd, but then (on subsequent recordings) step back into their more comfortable prog boots, perhaps? - “No, we never wrote a song under 10 minutes. I wish I had the knowledge of the music industry I have now. I would have insisted that we wrote at least 3 hit singles per album and that would have kept us going. I didn’t know you had to be successful like that. I don’t think any of us understood the business. We thought people would be loving the time changes and cool chords and melodies when in reality they just wanted We Will Rock You.”

And given that your first single is now stuck in my head, what are your theories now as to why ‘All in Red’ didn’t chart as well beforehand? - “I don’t think we were cut out to be pop stars like that. Duran Duran were amazing pop stars. They REALLY wanted it. We wanted to be Soft Machine.”

And with that song in mind, taking a look at this live TV performance of you on The Tube [see below], can you please explain your choice of Aimee Mann hair styling re: wig for that day? - “I think it looks great. I like doing new things. I don’t like being trapped in the status quo. I think I become more creative when I do off the cuff things. I must have been bored with my own haircut.”

It Bites - “All In Red” [Live on The Tube]

You have also been quoted as saying that if the Francis Dunnery of today could have talked to the band back then to help set them straight on a few things, that they would have had four hit singles per album they released! So, please enlighten us as to what todays FD would have actually said to his younger self? - “I didn’t know anything back then. Nothing. I was a young insecure kid from the hills of Cumbria who didn’t know who he was, hadn’t a clue on how the business operated and was very defensive about the music we played. I think they call it being an asshole!”

It Bites (1987-1989)
Your second album Once Around The World also contained two massive ear pleasers in both Midnight and Kiss Like Judas, but as it has since been documented, the band was invested in 15-minute songs at that time and not really the three minute pop tunes that radio begged for. With Steve Hillage brought in to steady the ship, to show you the musical way, was he welcomed by the band or was he seen as yet another obstacle in your path to becoming prog rock gods? - “I think Once Around The World is more like the real It Bites. It was more melodic and risky and unique. I don’t think it had anything to do with Steve Hillage. We loved Steve and the songs sounded great, but I don’t recall Steve making a big contribution other than agreeing with us. He understood what we were trying to do. He said YES to the best bits.”

Given that it was not as successful worldwide as your debut, what was being said within the band about what to do next? - “It was actually incredibly successful. It gave us huge credibility in the music world. I liken it to the film Bladerunner. No one took much notice when it came out but people appreciate it more and more as time goes on and people can listen in and hear all the things we thought. It was a very successful album.”

In reflection, I concur. It was also around this time that you debuted what was to be known as the Tapboard; two paired guitar necks that when paired with a ten-finger tapping technique would provide fast melodic runs and chording. So where did this Tapboard originate, who built it, and how did it change things for you? - “It didn’t change anything really. It was just a technique I was playing around with and John Hill and Dave Farmilow were kind enough to make it happen.”

It Bites (1989)
Your third album was Eat Me in St. Louis and showcased a definitive musical step into the rock arena, with shorter songs, and less prog influences. So who was around you at the time that perhaps told you that this was the way to go for this album? - “You have to take risks in creativity or you’ll just do the same shit over and over. I can’t make records that aren’t authentic or have some sort of expansive learning process attached to them. What’s the point. Eat Me was another frame to the put the same picture in.”

And where did that album title originate and why? - “It was our manager at the time Brian Lane, he said Eat Me in St. Louis and I thought it was funny for a prog band to have a title like that. I’m not sure the rest of the guys liked it.”

And getting the great Roger Dean to do its artwork was genius, given his success with both ASIA and Yes, so was that your idea? - “I don’t know whose idea it was but we were managed by the manager of YES so I suppose it was that.”

Bringing us the brilliant AOR hits ‘Still Too Young To Remember’ and ‘Sister Sarah,’ from where I sat listening it was if the world was your oyster and everything was hunky-dory in the world of It Bites, but things were (as we now know) tense between all the guys. So, and knowing what comes next, before that decision was made at what point did the highs of those two AOR songs being heard on the radio suddenly change to, in the words of the Animals, I gotta get out of this place? - “I don’t know, sorry.”

It Bites (1990)
With It Bites now in Los Angeles to write and record a new fourth album, one intended to finally break the American market, things at pre-rehearsal turned quickly sour and it was leaked that you had quit the band right there and then due to leadership issues. Is that really the way it happened, or is there more to that story? - “It’s like any marriage. You may blame it on this or that but really it’s just that the time had come to an end and it was time to go our separate ways.”

You have since been quoted as saying that what didn’t help at that time was that you had a brash personality, you were drinking and didn’t have very good social skills, so does all that still apply to you today? - “No, I’m very aware of myself. I’ve worked for 35 years to make myself tolerable!”

In reflection, as we chat here today, is there a part of you that is sad about the demise of It Bites back then, wishing, perhaps, that things could have been handled better as there was something there that glowed within the band, but just only ever rarely got to be seen? - “You sound like a therapist! Everything in hindsight can be handled better but if we had have handled it better we wouldn’t have Fearless, or Tall Blonde Helicopter or Man or The Gully Flats Boys. I don’t have any regrets.”

Do any recordings with you on vocals still exist from those LA sessions and if so, who has them? - “I have no idea but if anyone has them it would be John. He always took good care of his things.”

And as we’re not called Exclusive Magazine for nothing, was there ever an album title being bantered around at that time for this sadly not-to-be album? - “I don’t think so. I don’t think it would have been a good record. We were too far down the road.”

Given the band brought in Lee Knott to front the band, then changed its name to Navajo Kiss, then again to Sister Sarah before their whole experience came to an end (although various incarnations have since reappeared over the years up to 2024), are these the musical periods you tuned them out, let them get on with it all, didn’t pay them any mind? - “I don’t know any of their work. I was too busy doing my own.”

It Bites (2003)
Given that all the original members of It Bites came together on stage at the end of one of your shows to perform a couple of songs, and furthermore that a new album and tour would be coming the next year, and yet nothing came of that announcement, I am wondering what happened to derail those plans back then? - “I don’t know. I guess I’m still intolerable!”

Francis Dunnery (Solo)
In 1991 you quickly got back on the recording horse and brought out Welcome to the Wild Country, but it was sadly not a huge commercial hit. You have said that you didn’t know who you were at the time of recording it, so can you explain that a bit more for us? - “I didn’t know what I was doing. I was drinking heavily but I think it was all worthwhile for the spontaneous solo I did in Jackyl in your mind. That was a real moment.”

You then released Fearless in 1994 (which after your first solo tour was recorded, came backed by One Night in Sauchiehall Street), so who were you then (as by all accounts you were definitely finding your feet solo now and enjoying things)? - “I have big balls. If you want to do anything worthwhile you have to have the balls to fail. I shifted focus and acquired the balls to fail. And Fearless did well.”

In 1995 came your third solo album Tall Blonde Helicopter, then your fourth came in the shape of Let’s Go Do What Happens in 1998, but then later that year you announced your retirement to breed/train horses on a Vermont ranch! Where did the desire to suddenly change course and move there to do that come from? - “I just get bored with music. The business and the promotion and all that other stuff bores the shit out of me. It’s not what I signed up for.”

You then admitted you missed the musician in you in 2000 and have since gone on to release more solo albums, tour and also continue to contribute to other musicians and their musical projects/tours. As we stand here 26 years on from that decision to come back into this musical madness of a profession we inhabit, any regrets come to mind or has the rebirth of FD been smooth sailing? - “I’m not in the music business. I just do my own thing quietly on the side. I do a whole lot of other things than just music. I don’t have any leather pants. I swapped them for a monocle!”

And earlier this year you released a brand new solo album entitled England’s Tales of a Council House Kid, so please tell us a little more about how long it took to bring together and what pleases you the most about it? - “It may be one of my favorites due to its simplicity. It’s very honest and easy.”

And was it always going to be called that and why? - “It started with a Christmas song called its Christmas Day on Tuesday Night. I was only going to write and release that but then I got creative and I wrote about 10 songs in a day with my classical guitar.”

If you could describe it in just one word what that word be? - “Simple.”

Francis Dunnery’s It Bites / It Bites FD (2019-Present Day)
You now tour as It Bites (FD) so how is taking the stage as yourself, together with your current line-up of musicians, different from the times you used to do the same thing back in the late 80’s/early 90’s? - “When we were with the original line up we lived those songs. You can’t possibly hope to recreate what we did. I would say I play them more musically now because I’m older and more musical and I have a great band but the energy from me, Bob, Dick and John cannot be recreated without any of them.”

And with that in mind, and with nothing to fling back and forth, do you miss your long, flowing blonde locks when on stage and rocking out? - “Nope. I like my bald head!”

For those thinking of coming to see you play live in 2026/27, what can they expect to hear throughout the night? - “I’m actually back at college now so I’m not sure how much I’ll get to perform. Acoustic shows are easier.”

You even released a new It Bites album in 2024 entitled Return To Natural, so how was it to record again as FD, the OG MF’ing It Bites singer/songwriter on an actual It Bites-promoted album? - “It was It Bites-style, definitely prog. It Bites melodies. I had fun.”

And with that said, do you now own the rights to the name It Bites outright? - “I don’t know who has the rights. I don’t care. It doesn’t make any difference to me.”

And I guess it would be a good time to now ask you where the band’s name originated? - “It was from a guy called Frank Hall. He did a painting that said It Bites and we thought it was original!”

Getting to know Francis Dunnery
Is it true you auditioned to replacing the retiring Phil Collins in Genesis in 1996? If so, how far into the auditions did you go? - “I’ve documented this on YouTube. It was fun.”

OK, so, we know you joined ASIA in 2025, but only played the one gig before leaving the band, citing that you could not fulfill what John Payne musically needed, so can you please explain that a little bit more? - “I didn’t want to devote my life to Steve Howe. You can’t just show up and play Steve Howe. He has a weird style. I thought I could pick it up easy, but I couldn’t. You need someone like Guthrie to do that. If you want Steve Howe I’m definitely not your boy. But I love John. He’s a super cool guy.”

And at what point in that gig did this realization hit you? - “It was a struggle from day one. I was not having fun. John wanted exact. I couldn’t remember it.”

Based on you having a record player (although I bet money you do), what is your current vinyl go-to that you’ve dropped a needle on and why? - “Tea for the Tillerman by Cat Stevens because it has never been digitized and I can feel the difference.”

In closing, yes, FINALLY (thank God, I hear you say), we here at Exclusive Magazine LOVE penguins and so we wondered (and yes, we ask everyone this, as we are putting together a kids book to aid the Alzheimer’s Association) if you also had any love for them, and even better, if you had a story of one/any (from any stage of your life)? - “No stories on penguins.”

We also asked Francis if he had a photograph of himself that he would like to share with the world. One that maybe hadn’t been shown before. This is what he kindly sent us afterwards to share with you all: