When you’re describing an album that you think everybody should listen to at least once, the phrase “Christian surf-rock” probably doesn’t immediately come to mind. But I’m here to tell you why it should.
Pro surfer Peter King, who you may remember from MTV’s “Sandblast” in the mid-90s, started a Bible study for surfers in La Jolla, Calif., a suburb of San Diego that happens to be my favorite place in America outside of the South. He recruited singer Davia Vallesillo to help him lead worship, and it wasn’t long before they decided to form a band.
King and Vallesillo teamed up with guitarist Elliot Chenault, bass player Derik Toy, and drummer Chuck Cummings to form Dakoda Motor Co. Christian record label Myrrh signed them, and the band tapped alt-rockers Louis Gutierrez and Michael Gurley to produce.
The resulting album, “Into the Son,” is extraordinary. At a time when grunge was ruling the rock music landscape, this album was a breath of sea-salted fresh air and a ray of Southern California sunshine. And in 1993, a year when not much was happening in the world of Christian rock, it was a shot of adrenaline.
“Into the Son” starts out strong with “Wind ‘an’ Sea.” The title references San Diego’s Windansea Beach, a hangout for surfers. It’s a driving rocker that celebrates an encouraging, praying friend.
The gorgeous “Grey Clouds” follows. In this easygoing, mid-tempo number, Vallesillo sings about her life before Christ and contrasts with her life after. The tight harmonies and country-influenced guitar work give this one a Laurel Canyon vibe. It’s the best song on the album, and it’s still one of my all-time favorite songs.
After the punk-influenced “Need a Love” and the epic, dynamic “Ocean Seems” (Apple has it incorrectly listed as "Ocean Seem"), Dakoda Motor Co. takes it back a couple of decades for a cover of Jesus Music stalwart Bob Cull’s “Only the Beginning.” The band’s version captures the earnest missionary zeal of the Jesus movement of the ‘70s but puts a modern spin on the song.
Side two (on cassette, the original format I had for this album) kicks off with “Sondancer,” a high-energy song about a young woman who “seem[s] so different / not of this world.” Vallesillo sings that “no doubt about it / God is here” when the “Sondancer” spreads joy.
“Wasteland” gives King a Dylanesque lead vocal opportunity. You can picture him strolling along the beach as he sings about going through troubles.
“Freedom” is practically a singalong, and then Dakoda Motor Co. goes punk again, this time with a hint of ‘50s rock in the irresistibly fun “All Good Generals.”
If there are any weak points on “Into the Son” — and I feel like I’m stretching it to call them weak — it’s the side-ending tunes. (Sorry, but all these years later, I still picture the cassette running order.) The live “Everything” and the bluesy, live-in-the-studio “Sing Hallelujah” are fine songs, but they’re rougher around the edges than the finished product.
All in all, “Into the Son” is better than the sum of its parts. Vallesillo and King are terrific singers on lead and backing vocals, while every instrumental part comes in top form. The production from Gutierrez and Gurley is impeccable — and I can’t imagine what a risk it was for a Christian label like Myrrh Records to entrust a project to a pair of secular rockers.
Since we’re inching ever closer to summertime, it’s the perfect opportunity to give “Into the Son” a spin. And while you’re at it, check out their almost-as-good follow-up “Welcome Race Fans.”
If you’re not a Christian, don’t let the Christian rock label dissuade you. The music stands on its own merits, and many of the religious references are vague or poetic enough to not sound like you’re listening to the surf-rock equivalent of a gospel tract.
The band reunited in the late aughts, and local concerts and rumors of new music have surfaced from time to time. I sure wish they would record again.
Check out “Into the Son” in lossless audio on Apple Music or on Spotify.
