September 26, 2014
Hill & Dale is located in Canal Square at 1054 31st Street NW, Washington DC, next to the Sea Catch Restaurant.
Hill & Dale can be reached from M Street and from 31st Street. Look for the signs to the Sea Catch Restaurant and Canal Square.
Our hours are Tuesday - Sunday, 1-7pm. We are available on Mondays by appointment (email firstname.lastname@example.org)
September 26, 2014 in
Hill & Dale will feature Los Angeles artist Zox in a one-day pop-up exhibit of his current work, "Idol Icon Avatar", a series of paintings inspired by the historic journey of portraiture. The exhibit will be on Wednesday, October 1 from 4-8pm.
July 10, 2014 in
Hill & Dale and Marvin Restaurant present a pop-up event on Wednesday, July 16 featuring photography and vinyl records from Hill & Dale Records. The photography exhibit will feature the work of acclaimed photojournalist and music historian, Peter Simon. Mr. Simon’s iconic photographs include images of Bob Dylan, Robert Plant, Bob Marley, Mick Jagger, Jerry Garcia, and James Taylor. Date/Time: July 16, 6-9pm; Location: Marvin Restaurant, 2007 14th Street NW, Washington, DC 20009
June 12, 2014 in
Hill & Dale and Govinda Gallery are pleased to present 10 photographers who are documenting rock & roll bands from up and down the east coast. Emily Assiran, Julianna Clarke, Andy DelGiudice, Jessica Flynn, Vivienne Foster, Sarja Hasan, Nicholas Karlin, Chris Suspect, Jordan Swartz, and Clarissa Villondo’s photographs capture the energy and community of local music culture today.
Omnivore Recordings will soon release the full-length version of The Garden Spot Programs, 1950, featuring 24 performances, unheard for 64 years, from country music legend Hank Williams. Rescued from obscurity, these shows originally aired more than six decades ago; The Garden Spot Programs, 1950 collects material from the four episodes now known to exist. Due out May 20, 2014, the set follows the release of Omnivore’s collectible 10” vinyl Record Store Day EP sampler.
This is the Music Matters/Blue Note 33 1/3 rpm reissue of Idle Moments. "Grant Green was, along with Wes Montgomery, the top new jazz guitarist to become prominent in the early 1960s. Due to his single-note style (Green rarely every played a chord) and his ability to create fast lines on the spot, Green was in some ways the Charlie Parker of the guitar." - Music Matters
"Every language has words and phrases that elude easy translation. In Portuguese, "saudade" (pronounced "sow-DAH-djee") is one of those. Washington D.C. duo Eric Hilton and Rob Garza offer a vibey, transfixingly contemporary take on saudade withSaudade, their seventh full-length album." - NPR First Listen
"With her bold, gritty sound, she comes off like nothing so much as a female Howlin' Wolf, and one can't imagine her not being an influence on the full-throttle blues of Etta James, Aretha, Janis Joplin and countless others. ‘So Good to My Baby’ features typically microphone-distorting belting from the singer, and an appropriately blazing horn section." - Pure Pleasure Records
"The most impassioned and influential of all early guitar evangelists, Johnson ranks far above his peers from an artistic standpoint. As a bottleneck guitarist, he remains of the greatest who ever lived; as a vocalist, his impassioned singing conveys an immediacy and fervor that admits few equals." - Yazoo Records
"In their willingness to waste their considerable talent on unworthy material the Zeppelin has produced an album which is sadly reminiscent of [The Jeff Beck Group’s] Truth. Like the Beck group they are also perfectly willing to make themselves a two- (or, more accurately, one-a-half) man show. It would seem that, if they're to help fill the void created by the demise of Cream, they will have to find a producer (and editor) and some material worthy of their collective attention." John Mendelsohn, Rolling Stone Magazine review, 1969
"Hey, man, I take it all back! This is one fucking heavyweight of the album! OK — I'll concede that until you've listened to the album eight hundred times, as I have, it seems as if it's just one especially heavy song extended over the space of two whole sides. But, hey! you've got to admit that the Zeppelin has their distinctive and enchanting formula down stone-cold, man. Like you get the impression they could do it in their sleep." John Mendelsohn, Rolling Stone Magazine review, 1969
"I keep nursing this love-hate attitude toward Led Zeppelin. Partly from genuine interest and mostly indefensible hopes, in part from the conviction that nobody that crass could be all that bad, I turn to each fresh album expecting — what? Certainly not subtle echoes of the monolithic Yardbirds, or authentic blues experiments, or even much variety. Maybe it's just that they seem like the ultimate Seventies Calf of Gold." Lester Bangs, Rolling Stone Magazine review, 1970
"Era is the sort of record you can just sink into. The world outside remains as bleak and harsh as some of the music contained within this record, but it remains indescribably interesting as well. Everything about this album is the same, from the curious cover art to the enthralling dying seconds of the appealingly sinister ‘Deep House’. As a result Era is a work of magic; a record you could lose days or even weeks in, without noticing at all." - Benjamin Bland, Drowned in Sound