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In June 1990, the band travelled to Los Angeles, to start writing and recording their fourth album.This was intended to be the record to break the American market, and Dunnery promised simpler songs with "a stronger taste of blues." However, tensions within the band reached breaking point during the pre-rehearsal period, and it was confirmed to the band's fanclub in November 1990 that the band had parted company with Francis Dunnery.

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Cited influences included progressive rock bands such as Genesis, Yes and UK, but also soul musicians such as Steve Arrington and songwriters such as Joni Mitchell.

Francis Dunnery has repeatedly stated his admiration for The Smiths and Morrissey.

It Bites' blend of contemporary 1980s producer-pop, progressive rock and hard rock (setting glossy keyboards and massed harmony vocals against heavy drumming, complex time signatures and Allan-Holdsworth-inspired guitar solos) would draw criticism from some music press writers who accused the band of failing to settle on a coherent direction.

Despite this, the band forged a loyal and enthusiastic following in the UK.

Despite its split nature, the final album was consistent in tone and sound and was popular with fans.

During this period, Dunnery also gained some press attention for his invention of the Tapboard, an instrument based on two paired guitar necks and using a ten-finger tapping technique to create exceptionally fast and clear melodic runs and chording. Louis was recorded in early 1989 at Musicland Studios in Munich, Germany, produced by Reinhold Mack (best known for work with Queen and The Rolling Stones).

Instead of flying around at 9,000 miles an hour, I've been playing tunes that people can remember." However, the band also chose to commission the artwork for Eat Me in St.

Louis and its early single releases from the progressive rock sleeve artist Roger Dean, in what Dunnery admitted was a calculated attempt to play on their own "progressive rock" reputation and to "annoy people." During this period, Virgin made strong attempts to break the band as a serious hard rock act with several re-releases and video shoots for "Still Too Young To Remember" and the follow-ups "Underneath Your Pillow" and "Sister Sarah".

Bob Dalton later commented "it was actually the perfect situation because all we could afford to do was write songs 24/7. We became strong writers and strong players." which only charted modestly.

Their second single, "Calling All the Heroes", was released in June 1986 and became a big hit, reaching No.

Louis phase (during which they produced detailed hard rock songs with elements of heavy metal and glam rock); and the current reunion phase (in which they play a more measured melodic progressive rock similar to that of the Once Around The World phase).

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