Steve Power
Steve Power is a British record producer, audio engineer, and songwriter, best known for co-producing and mixing Robbie Williams' first five solo albums, including the multi-platinum Life Thru a Lens (1997) and hits like "Angels," "Millennium," and "Rock DJ."[1][2] Born in Liverpool (c. 1962), he emerged in the late 1970s punk and new wave scene as a teenager, joining a band that signed to Virgin Records in 1981.[2] After running his own studio and working with acts like Dead or Alive and Frankie Goes to Hollywood, Power relocated to London in 1984 to become house engineer at Battery Studios.[2] Throughout the late 1980s and early 1990s, Power built his reputation by engineering and producing for prominent artists, including Billy Ocean's UK number-one single "When the Going Gets Tough, the Tough Get Going" (1985), Bon Jovi, and Womack & Womack.[1][2] He produced Blur's early work and mixed tracks for The Stone Roses and The Charlatans, contributing to the Britpop era's sound.[2] His partnership with Williams and co-producer Guy Chambers, which began with Life Thru a Lens—recorded at Matrix Maison Rouge Studios, with production and mixing at Battery Studios in London, and reaching number one in the UK—yielded 26 hit singles and established Power as a key figure in pop production.[1][2][3] Power's versatility extends to diverse genres and artists, with credits including Joe Cocker, Diana Ross, Kylie Minogue, Enrique Iglesias, Andrea Bocelli, Busted, Feeder, and Babybird.[2] He received the Producer of the Year award at the 1998 International Managers Forum alongside Chambers for their work on Williams' music.[1] Power has also collaborated with Williams and Gary Barlow in the past, and as of 2025 continues to produce for other artists, maintaining his influence in the music industry through precise engineering techniques, such as using Neumann microphones and Focusrite preamps for vocal recordings.[2][1]Early Career
Beginnings in Liverpool
Stephen Power, born in Liverpool, England, entered the local music scene as a teenager amid the late 1970s punk and new wave movements.[2] In 1981, he co-formed the new wave band Hambi and the Dance alongside Hambi Haralambous, Wayne Hussey, and others, with Power contributing as keyboardist and mixer.[4][2] The group signed to Virgin Records that year, releasing singles such as "Too Late to Fly the Flag" and their debut album Heartache in 1982, recorded amid the Toxteth riots.[4][5] Utilizing the band's Virgin advance, Power helped transform a basement rehearsal space on Ullet Road—previously used by Haralambous's earlier group Tontrix—into Pink Recording Studios, Liverpool's first professional facility equipped with a 16-track setup.[4][2] At Pink Studios, Power began his engineering apprenticeship and worked on sessions for prominent Liverpool acts, including Frankie Goes to Hollywood, who rehearsed there, and Dead or Alive, among others from the Eric's Club scene.[4][2]Transition to London
In the early 1980s, following his initial experiences in Liverpool studios, Steve Power relocated to London around 1984 to pursue greater opportunities in the music industry.[2] This move marked the beginning of his freelance engineering career in the capital's dynamic recording scene, where he quickly secured gigs that showcased his technical skills and helped build his professional network. Power's early London work included engineering contributions to Julian Cope's debut solo album World Shut Your Mouth, released in 1984, on which he handled recording duties alongside Alex Burak and Phil Thornalley.[6] He also engineered the related single "Sunshine Playroom," released in 1983.[7] These projects highlighted his ability to capture raw, energetic performances, laying the groundwork for more prominent roles in the industry.Mid-Career Development
Battery Studios Period
In 1986, Steve Power was hired as a house engineer at Battery Studios in London, a prominent facility owned by Clive Calder and Robert John "Mutt" Lange, known for its state-of-the-art equipment and role in producing major pop and rock recordings.[8] This position marked a significant step in Power's career, building on his earlier freelance work in London since 1984, where he had assisted on various sessions.[2] One of Power's key contributions during this period was his engineering work on Billy Ocean's sixth studio album, Love Zone, released in May 1986 by Jive Records. Power handled the recording engineering for most tracks, capturing Ocean's smooth R&B and pop-soul sound using multi-track analog techniques on Battery's 24-track facilities, while Nigel Green oversaw the mixing to achieve a polished, radio-friendly finish.[9] The album achieved commercial success, peaking at No. 2 on the UK Albums Chart and No. 6 on the US Billboard 200, and was certified platinum by the RIAA for sales exceeding one million copies in the United States.[10] Power also engineered select tracks on A Flock of Seagulls' fourth album, Dream Come True, released in March 1986, including contributions to mixing on songs like "Whole Lot of Loving," where he employed the studio's Solid State Logic (SSL) 4000 E console for its automation capabilities and dynamic control, enhancing the band's synth-pop textures.[11] Battery Studios' setup, featuring 44-channel SSL desks with advanced EQ and compression, allowed Power to refine the album's electronic elements through precise layering and spatial effects during overdubs and final balances.[12] By 1988, Power's role expanded to include additional recording and remixing for James' second album, Strip-mine, performed at Battery Studios to refine tracks originally cut elsewhere, focusing on the band's indie rock arrangements with emphasis on vocal clarity and instrumental separation using the facility's high-end monitoring and tape machines.[13][14] The album entered the UK Albums Chart at No. 90, showcasing Power's technical expertise in elevating raw demos to a cohesive, professional sound amid the late-1980s shift toward digital-assisted analog workflows.[15]Pre-Williams Projects
In the early 1990s, Steve Power shifted from his engineering background at Battery Studios to taking on full production and mixing roles, establishing a diverse portfolio across pop and alternative acts, including engineering for Bon Jovi and Womack & Womack, as well as mixing tracks for The Stone Roses and The Charlatans during the late 1980s and early 1990s.[2] His breakthrough came in 1991 with co-production credits on Blur's debut album Leisure, where he collaborated with Steve Lovell on tracks such as "She's So High" and "I Know," contributing to the album's shoegaze-influenced sound during its recording at London's Matrix Studios.[16] Power expanded his mixing work with established pop artists, including contributions to Samantha Fox's self-titled second album in 1987, where he co-produced several tracks like "I Promise You" alongside Steve Lovell, with remixes and additional mixes extending into the early 1990s.[17] By the mid-1990s, Power's production scope broadened to include innovative electronic and indie rock elements. He co-produced Babylon Zoo's hit single "Spaceman" in 1996 with Jas Mann, blending synth-pop and industrial influences to create a track that topped the UK Singles Chart and became a Levi's jeans advertisement staple.[18] Similarly, he co-produced Babybird's breakthrough single "You're Gorgeous" that same year with Stephen Jones, capturing the band's lo-fi indie aesthetic in a polished yet quirky hit that reached number three on the UK charts. These projects highlighted Power's versatility in bridging underground experimentation with commercial appeal, solidifying his reputation ahead of major collaborations.Collaboration with Robbie Williams
Album Productions
Steve Power's collaboration with Robbie Williams and songwriter Guy Chambers commenced in 1996, marking the start of a prolific partnership that shaped Williams' breakthrough solo era through co-production on five consecutive albums released between 1997 and 2002. Power handled engineering, mixing, and co-production duties alongside Chambers, emphasizing Williams' vocal delivery with layered arrangements that blended live instrumentation and programmed elements, often recorded across multiple London-area studios such as Master Rock Studios and Battery Studios. This teamwork evolved stylistically from guitar-driven pop rock in the debut to more eclectic pop with orchestral flourishes and, eventually, swing jazz interpretations, reflecting Williams' artistic growth while maintaining commercial accessibility.[1] The inaugural effort, Life thru a Lens (released September 29, 1997), captured a raw, guitar-based pop rock sound rooted in Williams' post-Take That introspection, recorded primarily at Master Rock Studios with additional sessions at other facilities. Co-produced by Power, Chambers, and Williams, the album features 11 tracks:| No. | Title | Length |
|---|---|---|
| 1 | Lazy Days | 3:54 |
| 2 | Life Thru A Lens | 3:08 |
| 3 | Ego A Go Go | 3:35 |
| 4 | Angels | 4:25 |
| 5 | South Of The Border | 3:53 |
| 6 | Old Before I Die | 3:54 |
| 7 | One Of God's Better People | 3:33 |
| 8 | Let Me Entertain You | 4:22 |
| 9 | Killing Me | 3:57 |
| 10 | Clean | 3:55 |
| 11 | Baby Girl Window | 3:12 |