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T Bear, musician discusses his return to music, his muse, and more
Manage episode 435009180 series 2926928
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Content Warning: Themes of songs discussed in this episode include violence, cancer, suicide, and drug use. Please make your own choice when deciding whether to listen to this episode or to fast forward or skip altogether.
Bio (from website)
Based in Los Angeles, Richard T Bear boasts a career that spans more than 40 years, one that led to a string of noted solo albums and collaborations with a dizzying list of revered artists. In 1978, he signed with RCA Records and released his debut album, Red, Hot, and Blue, produced by Jack Richardson (Bob Seger, The Guess Who). The album featured a notable group, Les Dudek, Billy Squier, Paul Shaffer, and the Becker Brothers. The album spawned the single “Sunshine Hotel.” A remix of the song climbed to number four on the world dance charts before becoming the dance staple that it remains today. A second album titled Bear includes a rendition of the Rolling Stones’ classic “Ruby Tuesday,” followed by The Best of Richard T Bear and Captured Alive, a concert recorded in Hamburg, Germany. In 1984, he moved to Teldec Records, which led to the release of The Bear Truth, and the Giorgio Moroder produced album The Runner.
He has appeared on numerous recordings including Crosby, Stills and Nash’s “Southern Cross,” The Blues Brothers Soundtrack, Richie Havens Mixed Bag II, Kiss members Gene Simmons and Peter Criss’ solo ventures, as well as Toby Beau’s hit single “My Angel Baby,” Billy Squier’s solo debut Tale of the Tape, and former Rascals Gene Cornish and Dino Danelli. He would also pen the song “Love and Pain,” one of the standout tracks on Cher’s blockbuster album Take Me Home. He has shared the stage with artists such as Richie Havens, Odetta, The Doobie Brothers, and Jeff Beck, to name a few.
Domestic responsibilities and a struggle to regain his sobriety forced him to put his musical career on hold. In 1983, T Bear gained his sobriety and focused on helping others with addiction, and became instrumental in developing the Musicians Picnic, serving on its board of directors. The annual event led to the creation of the Musicians Assistance Program (MAP), a non-profit organization that is now part of the Recording Academy’s MusiCares F
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