Born from the Dallas suburb of Denton, TX, in the mid-'80s, Ten Hands brief… Read Full Bio ↴Born from the Dallas suburb of Denton, TX, in the mid-'80s, Ten Hands briefly enjoyed heaps of acclaim and an impressive following in their home state. Their music tended to be high in energy, syncopated and funky. Matched with Paul Slavens]' charismatic vocal stylings and political assertions that denigrated the ruling elite, the complacent middle class, and environmental evils, Ten Hands was one of the more politically oriented Texas bands of the era. They rarely forgot to be fun, however, and their musical playfulness and frequent lyrical absurdism belied any pretensions they may have had.

Sometime in late 1986, Mike Dillon, Gary Muller, and Matt Chamberlain were playing in Dallas-based band Zane Grey, who actually appeared on Star Search. They did not win, but Muller did get to touch Ed McMahon (specifically, his hand). Meanwhile, Steve Brand and Slavens were playing in a Denton band called the Gonemen. Dillon, Muller, and Chamberlain lived in the same Denton house as other members of the Gonemen, and when dissatisfaction with both groups began to appear, the idea for a new band was spawned.

The first Ten Hands rehearsal (documented on videotape) took place late 1986 in Denton. Shortly thereafter, Zane Grey's manager, Tony Johnson, accepted an offer to manage the fledgling band. For the first year, Ten Hands played mostly small venues in Denton and performed a weekly gig at the Prophet Bar, a seminal Deep Ellum club in Dallas. During this time, a studio recording was made and handmade cassettes were sold and distributed in and around the Dallas, Ft. Worth, and Denton area.

Chamberlain and Dillon were already well-known in Denton as top players in the University of North Texas Jazz program, and interest in the band soon grew. It was also during this time that the New Bohemians were becoming a major draw in Dallas. It happened that several members of that band were friends with a few Ten Hands members, and ultimately, New Bohemians finagled some opening slots for Ten Hands at Deep Ellum's celebrated Club Dada. The Club Dada shows helped expose the band to a much wider audience, and the venue would later host many of Ten Hands' most memorable performances.

In late 1988, Earl Harvin joined the band as drummer after the Matt left to play with the New Bohemians. The band went into the studio to record Kung Fu...That's What I Like. As New Bohemians vacated Dallas for bigger and better things, Ten Hands stepped in to fill the void and began what would be a three or four year run as one of the region's most popular draws. The band won numerous Dallas Observer Awards in 1988-1989, and shortly after the release of their first live CD, The Big One Is Coming, and sold over 20,000 copies. Joe Cripps joined the band to replace Dillon on percussion.

Earl left the band to play with Mike Dillon's Billy Goat and "Big" Al Emert became drummer. Ten Hands started to tour heavily and built a large following with college audiences.

At a SXSW performance, the band was offered a record deal by an independent producer in L.A. Desperate to release an album after two years of inactivity, the band agreed and began work on Be My Guru in late 1991. While the album contained some of the band's best songs, the recording itself was a disappointment and the relationship with the label grew stormy. By the time the band left the label, much of their earlier momentum was lost.

As the band's popularity began to wane, a friend of the band, Byron Wilson, offered to produce a CD. Jazz for Jerks was recorded in early 1993 with the assistance of the band's friend and longtime collaborative producer, Dave Castell.

Steve Brand left the band in 1993. New guitarists, Chris Claridy and Chad Rueffer joined and the band wrote some new songs and continued to gig around the area. In the next incarnation, guitarist, Ed McMahon (in a strange twist of fate), and drummer Greg Beck were hired. A demo record was recorded with the brand new lineup, but the album was never mixed or released.

Ten Hands continues to play, with various lineups, several times a year in the Dallas area.

Love Is the Question
Ten Hands Lyrics

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(Slavens)
Love is the question
That my heart's been asking
And you are the answer
Every night I go to sleep
I pray the lord my soul to keep
If I have to climb a thousand mountains high
I will be there for you, baby

I will show you how to fly
Yeah, yeah, yeah

Won't you do it once for me
Cover me with kisses, baby

Overall Meaning

The lyrics of Ten Hands' song Love Is the Question are about a person's longing for love and their hope for finding it. The singer's heart has been asking this question for some time, and they believe they have found the answer in their significant other. The lyrics also indicate a willingness to go to great lengths to make the relationship work, using metaphorical language such as climbing mountains to show their commitment. The song's final lines suggest a desire for physical intimacy, asking the other person to "cover me with kisses."

The song's lyrics capture the raw emotion and vulnerability of someone hoping for a deep, meaningful connection with another person. The repetition of the line "love is the question" emphasizes the importance of this theme, while the metaphor of climbing a mountain communicates the singer's determination to make the relationship work. The final lines bring the song's message to a more immediate, physical level, adding a layer of passion and urgency.

Line by Line Meaning

Love is the question
My heart desires to know if love exists

That my heart's been asking
I am constantly looking for love

And you are the answer
You are my true love

Every night I go to sleep
At the end of every day

I pray the lord my soul to keep
I ask for protection and guidance from a higher power

If I have to climb a thousand mountains high
I am willing to do anything for you

I will be there for you, baby
I will always stand by your side

I will show you how to fly
I will help you reach your full potential

Yeah, yeah, yeah
Affirmation of the previous statement

Won't you do it once for me
If you love me, show me

Cover me with kisses, baby
Give me affection and love