I'm Talking received international interest; as a result they undertook a 36-date tour of the United Kingdom supporting Five Star in late 1986.

It included three non-album singles—"Trust Me" (November 1984), "Lead the Way" (June 1985) and "Love Don't Live Here Anymore" (August)—as well as B-sides and mix tracks.

Bear Witness was the debut studio album issued by Australian pop rock band I'm Talking on 4 August 1986.

[1][3] Whilst most contemporary Australian musicians were playing pub rock in the 1980s, I'm Talking provided London-influenced soul combined with American R&B and electro-funk.

"[6]: 14 [9] The band were managed by Ken West and Vivian Lees, and following the release of Someday, they were signed to Regular Records,[6]: 14  which had been founded by Cameron Allan and Martin Fabinyi.

"[12] Eventually they found Ross Cockle (Glenn Shorrock, Real Life), "who had an empathy with the group and with disco".

[12] Their first three non-album singles—"Trust Me" (November 1984), "Lead the Way" (June 1985) and their cover version of Rose Royce's "Love Don't Live Here Anymore" (August)—were produced by Cockle for Regular Records.

[14] Ceberano later clarified that the other members of the group viewed the band as a collective, in which "everything was shared—the philosophy, the credits, the money"; however, in reality, she had little to do with the song writing or production.

[15] Ceberano stated "[Goodge] resented the whole idea that someone else could rearrange a song that he had written and represent it as a new piece of work".

[1] Abeyratne's lead vocals for "Holy Word" occurred as Ceberano was unavailable the day they were recording its demos, according to Goodge.

[9] The band received considerable international interest, and, as a result I'm Talking undertook a 36-date United Kingdom tour supporting Five Star.

[1][20] Back in their home country they added Kevin Wiltshire on keyboards and performed on the Australian Made tour from December 1986 to January 1987.

[1][3] For the CD version of Bear Witness, issued in 1996, I'm Talking added five tracks:[3] two dance mixes of the album's first two singles, "Do You Wanna Be?"

[20] Regular Records' former owner, Martin Fabinyi, provided Goodge with I'm Talking's studio master tapes in the late 2010s.

[4] This resulted in an expanded re-mastered version of the album, which was released in March 2018 on vinyl by Bloodlines, a subsidiary of the Mushroom Group.

[4][11] This version includes all the content from the 2× CD reissue plus 15 tracks: all of Someday EP and "rarities inspired by their New York experiences with hip hop culture and 12" mixes".

[4][11] AllMusic's Andy Kellman defined the group's range, which "eased across spring-loaded pop-funk, pure R&B balladry, and freestyle with a bright synthesis of played and programmed instrumentation.

The book's writers also state:The tracks were full-bodied and vigorous, swept along by [Goodge]'s unobtrusive but finely honed funk guitar parts.

', a melancholic funk ballad, allowed a young [Ceberano] to play a wronged diva... the music was upbeat but the lyrics were rarely celebratory... [T]he relationships described on Bear Witness are generally unbalanced – one party controls the other.

[20][26]Stack's Jeff Jenkins commented of the expanded reissue, "More than three decades later, the songs still sound sophisticated... [one of] the era's finest example[s] of dance-pop.

as having "channelled the slow-burn jazz tunes the wildly talented Ceberano sang before I’m Talking and returned to after they disbanded".

[28] When writing for The Herald Sun he observed "[it's] a stunning ballad that reminds you that [Ceberano] was then barely legal but had years of under-age jazz shows under her wings.

[9] Adams, now writing for Rolling Stone Australia, observed, "[it's] a snapshot of Australian pop being changed forever, for the better", which "merged the escapism of Studio 54 dance music with the experimentalism of Melbourne post-punk/post-funk".

[28] Bryget Chrisfield of Stack described Ceberano's performance on "Someday" as "flawless vocal on [a] sax-tastic" song.