Illustration is a dirty word, or at least was until recently. Neither truly accepted by the art establishment nor the design industry, illustration has battled on regardless. Derided as whimsical by artists and arty by designers, illustration had found itself existing in a no-manÕs-land between the two. In education the discipline has fared no better - rarely given more than just studio space, the student illustrator has learnt to bend the rules and break across borders to gain access to facilities and equipment to facilitate their work. So life as an illustrator is not for the faint-hearted, it takes massive determination to face the demands and rigours of a career choice that can feel vastly unsupported, but against these odds the discipline has mounted an impressive return to form. How and why?

According to The National Museum of Illustration in Rhode Island, USA, 'Illustrators combine personal expression with pictorial representation in order to convey ideasÕ - a useful description certainly, but one that falls short of fully capturing the essence of what the subject is or has been about. Describing the 'golden eraÕ, when magazines such as the Saturday Evening Post scoured the studios for great illustrators, Steven Heller the design writer and art director stated that 'Illustration was the peopleÕs artÕ. A sentiment echoed by the National Museum of Illustration - 'illustration serves as a reservoir of our social and cultural historyÕ, even going onto state - 'Illustration is therefore, a significant and enduring art formÕ.

The album was initially recorded at Island Records's newly opened Basing Street Studios, London at the same time as Jethro Tull's Aqualung, before further recordings took place at Headley Grange, a remote Victorian house in East Hampshire, England, as well as Sunset Sound in Los Angeles, CA.

After the lukewarm, if not confused and sometimes dismissive, critical reaction Led Zeppelin III had received in the autumn of 1970, Jimmy Page decided that the next Led Zeppelin album would not have a title, but would instead feature four hand-drawn symbols on the inner sleeve and record label, each one chosen by the band member it represents. "We decided that on the fourth album, we would deliberately play down the group name, and there wouldn't be any information whatsoever on the outer jacket", Page explained. "Names, titles and things like that do not mean a thing."

In 1998, Q magazine readers voted Led Zeppelin IV the 26th greatest album of all time; in 2000 "Q" placed it at #26 in its list of the 100 Greatest British Albums Ever. In 2003, the album was ranked number 66 on Rolling Stone magazine's list of the 500 greatest albums of all time. It is #7 on Pitchfork Media's Top 100 Albums of the 1970s. A 2005 listener poll conducted by Toronto, Ontario classic rock station Q107 named Led Zeppelin IV the #2 best classic rock album of all time. In 2006, the album was rated #1 on Classic Rock magazine's 100 Greatest British Albums poll; that same year it was voted #1 in Guitar World 100 Greatest Albums readers' poll and was ranked #7 in ABC media's top ten albums.

This very first official English collection will include greatest hits and new songs. The plans are for 8 greatest hits and 8 new songs. There will be many "local" editions of the album (according to the countries): the differences will be essentially based on the local hits. For example, Think Twice was a HUGE hit in UK and will be on the UK edition of the album, but probably not on any other edition around the world.

Tracklist:
1. "The Power of Love" (Gunther Mende, Candy Rouge, Jennifer Rush, Mary Susan Applegate) – 4:49
2. "Beauty and the Beast" (with Peabo Bryson) (Alan Menken, Howard Ashman) – 4:04
3. "Because You Loved Me" (Diane Warren) – 4:35
4. "It's All Coming Back to Me Now" (Jim Steinman) – 5:31
5. "To Love You More" (David Foster, Junior Miles) – 4:42