A Great Review for the "He's On Top" Anthology

Rachel Kramer Bussel edited He's on Top: Erotic Stories of Male Dominance and Female Submission, and I am thrilled that she included my story, "Confession." Now Blowfish has given the book a fantastic review (and they seem to like my story, too!):

How much hotter is the humiliation when you know she wants it? Celebrating the romance of BDSM from the male top's perspective, the mindfuckery in He's on Top makes perfect fare for kinky newbies, couples and longtime play partners. Penned with mutually empowered perspectives in mind, each tale reminds us that power-play can indeed be safe, sane and consensual, reliant on more than props and rote scenarios. Andrea Dale's "On the Twelfth Day" counts down the days to Christmas with progressively kinkier pain-inducing tasks and toys, while the couple in Shanna Germain's "The Sun is an Ordinary Star" morph a woman's cancer recovery into a brilliant way to transcend pain in ways that can be controlled. The psychological twists, rape fantasy and sexplay in Gwen Masters' "Confession" reinvigorate a couple's previously vanilla relationship. All of the power exchanges in this anthology put less emphasis on the brute, more on the force. A bittersweet collection for those who love the kinkier side of sex.(2007, 177 pp)

Hide and Seek

I'm happy to be included in Hide and Seek, the great new anthology from Cleis Press. Not only did I get to write another hot story, I got to work with both of my favorites, Alison Tyler and Rachel Kramer Bussel, at the same time. -swoon-

Here's the press release for the book. Do you have yours yet?

***

In this sizzling collection from the editors of Caught Looking, these voyeurs and exhibitionists go all out in their quest for the perfect peep show.

Hide and Seek
Erotic Stories
Edited by Alison Tyler
and Rachel Kramer Bussel

"I tend to think that all writers are exhibitionists of some sort, begging
readers to feast their eyes on our most salacious output. We want people to
watch us get naked as we explore our deepest fantasies, the kinds that make us
blush and squirm and shift in our seats…But we writers are also voyeurs,
constantly absorbing everything around us, our eyes zooming in on all the
pertinent details, the little moments that make sex all the hotter for their
simplicity. We notice the details, and we want you to know that we’re watching
your every move.”
— from the introduction by Rachel Kramer Bussel

Get a front row seat for the steamiest live action with prolific erotica editors Alison Tyler and Rachel Kramer Bussel as the men and women of Hide and Seek strip, tease, and make you beg for more! In Saskia Walker’s “Counting the Days,” an office worker flashes a window washer who can’t believe his good fortune. An adventurous couple performs in the back seat for their cab driver as they hurtle through midtown at 4 a.m. in “Operator 84” by Thomas S. Roche. Whether putting on a deliberate show for an eager audience or looking into the hidden lives of their neighbors, these characters want you to peek as much as you want to look.

If you love to watch -- or be watched -- this one's for you! You can get it here.

New Interview at Romance at Heart Magazine

My latest interview is up at Romance at Heart Magazine! It's a great place with a ton of leads on new books, fresh new authors and reviews. This time I'm talking about my new books, works in progress, the business of writing and how my personal life meshes with my career.

Click here to read my interview.

I'm Blushing Again!

I'm making another appearance on the Blushing Ladies Journal with my response to their latest essay question:

What turns you on? What turns you off?

I enjoyed talking about the things that really set my heart to fluttering and my thighs to trembling. You'll have to scroll about halfway down to find mine, as I'm sandwiched between lots of other erotica authors...

That's a good reason to be blushing! -wink-

Test Drive, Lease, or Buy?

This month at For the Girls, I'm talking about men...and cars.

“You would never buy a car without a test drive, right? A man is the same way. Take him for a little spin. See how he feels. Take him around the block. Do wicked things to him, and with him, and see how he holds up. By the time you’re done, you know if you like him or not. Then you have the decision on whether to walk away from him, lease him, or buy him.” She grinned. “Men objectify women all the time. What’s wrong with deciding whether a guy is a hot rod or a lemon?”

What do you have? A sexy yet reliable Cadillac? Or perhaps a Corvette with a souped-up engine and a wild streak?

As for me, well...I'm all about the bad-ass Hummer type...


Men are like cars, and so are the dating choices: Test Drive? Lease? Buy? Or perhaps go with the ever-popular but commitment-shy Rental?

Visit my Learning Curve column at For the Girls to get in on the fun!

Walking on the Wild Side...

I recently had the pleasure of reviewing Animal Attraction, the new anthology from Torquere Press, edited by Vincent Diamond. I was impressed:

Anthologies focused closely on one particular subject always run the danger of becoming too much about the theme, and not enough about the stories. Sometimes an anthology of this sort can put me to sleep, which is why I was so pleasantly surprised to read the latest from Torquere Press.

Visit Clean Sheets to read my full review of the collection.

In the Rain

In the Rain
by Gwen Masters

“You’re the color of the sky
Reflected in each storefront window pane,
You’re the whispering and the sighing
Of my tires in the rain...”

-Jackson Browne, “Sky Blue and Black”

Larry’s radio murmured as he turned into the parking lot of that hotel, the one with the broken mirror in Room 108, the one with the non-smoking rooms that smelled like smoke and the king-size beds that were too big for two people in love. The windshield wipers made their comforting thump-whack and his watch kept up the steady ticks and the rain poured down, coloring everything a darker shade as he thought of Katherine.

She would be cooking dinner about now, standing in the kitchen with her blonde curls tied up in a bun, or maybe under a bandana, one of those cheap ones from the discount store. She would be doing half a dozen things at once, manning the brigade of pots and pans as she sidestepped around a two-year-old and hollered to the six-year-old that his room had better be clean before he came to dinner or there would be serious trouble. After stirring a pot and hearing the grandfather clock chime she would holler again, her voice carrying down the hallway and to the bedroom where a man would be taking off his shoes after a long day of work, smelling the good smells and feeling his stomach rumble.

Larry remembered what that was like.

The old Ford truck was one they had made love in when they were courting, back when dinosaurs roamed the earth, before children and mortgages and things that went wrong. One night while they were lying down on that bench seat Katherine had gotten her long blonde hair caught in the door handle and she couldn’t move and somehow that excited them both, excited them so much that Larry went at her hard enough to rock the truck on its wide wheels, hard enough to fog the windows. The whole time the radio was playing one song after another, songs that meant something, songs that fifteen years later were like that truck: they don’t make ‘em like that anymore.

When it was over Larry had untangled her hair and she had cried because his hands were so tender and so careful, and because she loved him so much.

Lightning struck something nearby. The sound was loud enough to make Larry jump, close enough to turn the radio to static. Thunder roared. Larry watched the little blue car come through the curtain of mist. Behind the wheel was a pretty brunette, a bit on the heavy side with deep blue eyes and a radiant smile. She looked frightened as she drove under the light of the neon sign, and Larry guessed she was afraid of storms. He was learning more about her every time they met.

She ran to the shelter of the hotel room. Larry watched her as she opened the door to Room 108. He caught a glimpse of the broken mirror and thought about how Erin kept getting the same room as though they were testing their luck, as if the clerk at the front desk didn’t notice that they only stayed for a little while. Did she want to get caught?

Larry wondered if Katherine had wanted to get caught and if that is why she had left her own hotel key in the console of the car. He wondered if she had left it there deliberately and if she had ever thought about the way he would react, the suspicion and then the anger and then the shock of finding out that he was right after all.

She had been in Room 214. At least that time, she had been. Larry wondered if she had ever watched the new man in the mirror as he fucked her, perhaps in Room 108.

Another clap of thunder, and this time Erin looked out the window. She hadn’t seen his truck yet, parked way over there on the other side of the lot, but he climbed out anyway. He had forgotten his umbrella. By the time he dashed through the rain and the door closed behind him, he was soaked. Erin remedied that by removing his clothes.

She was wearing something silky. Her skin was scented with the fragrance that was uniquely her, the one that was seductive. She also wore a wide gold wedding band. Larry needed to make love to a married woman, to take what was taken from him, and Erin seemed to understand, seemed to revel in it sometimes by asking him if he thought Katherine had ever fucked her new man like this, or like that, or like this.

Larry came harder than ever when Erin did that, because it was like permission to go where his mind was going anyway, it was like having both of them in bed with him, it was living out the questions in his head, and it disgusted him yet made him want more at the same time.

He didn’t want to think about it.

Larry kissed Erin and lowered her to the bed and removed her clothes a little bit at a time, until he was between her widespread legs and she was playing with her nipples. He looked up and watched the harsh light from the bedside lamp as it glinted from her gold band.

He played his tongue over her lips, nice and slow, teasing each one. He delved into her, his tongue at first, then his fingers. By the time he touched her clit she was writhing under him and he knew how to do it, knew what would set her off, knew how to make it last. She told him over and over that he was better than her husband was and he clung to that like a drowning man clings to driftwood he happens to find in the ocean.

The new man would be sitting down in Larry’s chair now, looking at the food on the table and perhaps looking at the woman who served it. What was she wearing? Something that the new man would take off later in the bedroom that now belonged to them but used to belong to Katherine and Larry?

Larry bit gently on Erin’s clit. She wiggled in that certain way. Larry slid two fingers into her and then three and then four. Larry knew she would be sore and he was glad for that. He wanted her to be sore from him when she fucked her husband. That was important.

“Baby, I love you,” Erin gasped, but Larry didn’t hear her.

His mind was in a house across town, sitting down to dinner of mashed potatoes and peas and beef brisket with that good gravy only Katherine could make, and Larry felt a hunger inside, something deeper than anything food could fix.

Then Erin arched up into him and she cried out, a long wail that told him he had done what he was supposed to do. It was his turn now, because that was how things worked, wasn’t it? He did his duty and then she did hers or they did it together and that was supposed to be the correct way. It was all supposed to feel right.

Larry slid into Erin and she moaned, that deep down way that she always did, not like the gentle whimpers that came from Katherine. He moved deep into her and held her hair in his fists, the way she always liked it. He said all those things he had never said to Katherine, things like slut and whore and bitch and Erin broke out into goosebumps and moans with every new word. They turned together, her on top and him on bottom, and she rode him hard while she played with nipples on breasts that were bigger than Katherine’s, much bigger. Her body was rounded and soft and it was a turn-on of immense proportions (at least that’s what his dick said and by God, dicks don’t lie). It wasn’t more or less than the body Katherine had. It was just different.

When Erin leaned forward and rode him in that perfect way that drove his cock against the back wall of her cunt, the way that put pressure on his pelvis and his belly and everywhere else, Larry wrapped his arms around her and pressed his face to her throat. He came hard, deep inside her, where her husband might find it if he chose this night to fuck his wife.

When it was over, Larry said all the right things and did all the right things, but Erin knew he was far away. He could tell it by the look in her eyes when she saw the look in his.

“I said something wrong, didn’t I?” she asked, and Larry didn’t know what she meant, but he held her and kissed her and told her no, she hadn’t said anything wrong. She had said everything right.

She smiled and was content, and that was good. Content was good.

Two hours and then they were gone from the hotel room, the door closed and nothing amiss, the broken mirror in darkness, her little blue car disappearing in a haze of rain and fog. Larry drove slowly out of the parking lot and turned up the radio, which was no longer static but crystal clear, songs from years ago that still meant something. He turned toward the apartment across town, the one with the mismatched furniture and the empty fridge.

The rain poured down harder, hard enough that he had to squint to see through the windshield. Finally Larry had to pull over, had to sit there while every song on the radio told another tale from the story of his life and the rain pounded the hood of the old Ford. Unable to be here, he closed his eyes and he was there, sitting down to a dinner of beef brisket and mashed potatoes and peas, Katherine was smiling at him, and all was right with the world.

Originally published on Clean Sheets, copyright 2007.

CMA Predictions with Scott Roland: Part Three

It's time for our third and final installment of CMA Predictions. The CMA Awards will take place at the Sommet Center in Nashville on November 7th, 2007.

If you missed Part One of our predictions, click here. And click here for Part Two.

Now, once again: On with the show!

Scott: The nominees for Single of the Year are: "Anyway" by Martina McBride, "Before He Cheats" by Carrie Underwood, "Lost in this Moment" by Big & Rich, "Ticks" by Brad Paisley, and "Wrapped" by George Strait.

Gwen: Again, for those like me who always get the Single of the Year and Song of the Year categories confused, Single of the Year is awarded to the artist and the producer. This category is more about radio play and overall production of the records, whereas Song of the Year is more the integrity of the songwriting.

Scott: Just like with the Song of the Year category, it's an even playing field. None of the nominees have a huge advantage over the other, so I will simply go with the song that I heard more on radio out of these five, which is "Before He Cheats."

Gwen: I think I might have heard "Ticks" just as often as I heard "Before He Cheats." But if we're also taking into account overall production of the song, I think Carrie Underwood is probably going to take the award here.

Scott: It's interesting that George Strait was nominated for "Wrapped" in this category instead of "Give It Away," which was his bigger record. In closing on this category, though, I have to say -- it's hard to vote against America's Sweetheart.

Gwen: Not for me! But, in the interest of keeping the peace, let's move on to Album of the Year. The nominees are: 5th Gear, by Brad Paisley, It Just Comes Natural by George Strait, Long Trip Alone by Dierks Bentley, Love, Pain and the whole crazy thing by Keith Urban, and These Days by Vince Gill.

Scott: Five very entertaining collections, at various ends of the country music spectrum. With Brad Paisley you have possibly the best country album released in the calendar year of 2007, a set from Dierks that furthered his cause as a leader of the young traditional country movement, and albums from Strait and Urban that saw business as usual. My personal pick in this category has to be the amazing range displayed by Vince Gill in his multi-disc set. I think the "hugeness" factor for CDs of this release might be a little too much for voters to deny. I will say, if it is a single album that gets the award, it will be Paisley. I think in the end, Vince will take this one, and perhaps that is as it should be.

Gwen: It would be a huge year for Vince if he walked away with this one in addition to his induction into the Country Music Hall of Fame. Amazingly enough, I'm in agreement with you on this. I'm not the biggest Vince Gill fan, but the range he shows on this album set is delightful.

Scott: That leads us to the Entertainer of the Year category, and as usual, it's filled with male voices. Gwen, you do the honors -- who are the nominees?

Gwen: Those nominees are: Kenny Chesney, Brad Paisley, Rascal Flatts, George Strait, and Keith Urban. What do you think?

Scott: You've got a field of superstars here. However, I think this is one of the easiest picks of the night. Only the possibility of a Rascal Flatts upset could spoil this award for one of the hardest-working men in the business: Kenny Chesney.

Gwen: Rascal Flatts very well might pull off an upset in this category. Kenny is the reigning King here, and and Brad Paisley is quickly coming up to Entertainer of the Year speed, but I don't think he's there this year.

Scott: George Strait and Keith Urban are always contenders in this category, but compared to the other three, it's been a business-as-usual year in the marketplace for them.

Gwen: The artist missing from this category is Tim McGraw. I was very impressed with the album he released, the tour with wife Faith Hill was a huge success, and his radio presence has been constant. If those are some of the biggest reasons for the Entertainer trophy, Tim certainly should have been nominated. I'm sorry he wasn't.

Scott: A lot of folks are, but among the ones that are on the list, I just don't see how Chesney doesn't get it, at least this year...unless you have a Rascal Flatts upset, which wouldn't be the biggest shock in the world.

Gwen: I'm almost expecting it. Their career has followed a long trajectory, and that has headed nowhere but up. I agree with you that Kenny has kept up his strong showing in all aspects of the music world, but this year, I think the Rascal Flatts boys will walk away with the coveted trophy.

Scott: Could very well happen. I don't necessarily think that would be a Dewey-defeats-Truman special. I'm still a huge believer in what Kenny Chesney has done, and continues to do, in the country music industry. But we will all see what happens on November 7th.

That's it for us on the CMA Nominations...tune in to watch the show, and see if we're right! The awards will air on ABC on November 7th at 8 EST/7 CST. For more information on the CMA Awards and the nominees, check out the CMA Website.

CMA Predictions with Scott Roland: Take Two

We're back with Part Two of our CMA Predictions. If you missed Part One, click here. Now, on with the show!

Gwen: What's up next?

Scott: Let's go with Song of the Year first.

Gwen: The nominees are: "Anyway" by Martina McBride, "Before He Cheats" by Carrie Underwood, "Give It Away" by George Strait, "Lost in This Moment" by Big & Rich, and "Stupid Boy" by Keith Urban.

Scott: Personally, none of these songs have the lyrical depth of "If You're Reading This" by Tim McGraw. I find it a travesty that it's not nominated, regardless of eligibility for the year. But since this is what we have, we have to go with it: of these five, I don't know that there's a clear-cut song that's better than the rest.

Gwen: Just to make it clear to those who aren't familiar with the CMA nominations: The Song of the Year category is awarded to the Songwriter and the Primary Publisher. Single of the Year is awarded to the Artist and the Producer. Therefore, Song of the Year focuses more on the artistic value of the song, and Single of the Year focuses more on the commercial appeal and radio success.

Scott: And, if that was totally true, "If You're Reading This" would be in the top five, so once again, we go with what we have -- which isn't necessarily weak, as all five are huge hits, lyrically they are a bit unremarkable, especially when compared to recent years.

Gwen: I agree. "Anyway," "Before He Cheats" and "Lost in This Moment" aren't filled with any lyrical surprises. They are straightforward songs that sound good for radio but add up to little more than ear candy.

Scott: And don't forget "Stupid Boy," about a man lamenting lost love and what he did wrong -- wow, that's a novel concept!

Gwen: No, it's not a new concept, but what in country music is? It's not necessarily finding a new topic, it's finding a new way to say it. In that regard, "Stupid Boy" is fresh for radio. It's a different angle on an old situation, and that's always refreshing to someone who loves their music a bit off the beaten path.

Scott: Okay, sure. I'm not saying it's a bad song. I've just heard the song of regret before. My personal pick here -- and I stress, personal -- would be "Give It Away." As a fan of both George Strait and one of the writers, Whisperin' Bill, I think this was about as novel as it got this year.

Gwen: I agree...it's a new take on an old topic. Divorce. She's leaving. She's telling him to take everything and do whatever the hell he wants with it. A new take on an old, worn-out topic...kinda like "Stupid Boy," huh?

Scott: Once again, what makes this great is that we can agree to disagree. George Strait for President!

Gwen: We already made the President from Texas mistake once. You go with George Strait, and I'll go with "Stupid Boy." And now, before we get all hot and bothered for the wrong reason, let's move on...

Scott: "Moving On" like the Rascal Flatts song?

Gwen: You've got it! We're now talking about Vocal Group of the Year. The nominees are: Alison Krauss and Union Station featuring Jerry Douglas, Dixie Chicks, Emerson Drive, Little Big Town and of course, Rascal Flatts. What say you?

Scott: What a competitive category we have. One of the top bluegrass singers and her backing band, going to head-to-head with a group that doesn't consider themselves country.

Gwen: The mind boggles.

Scott: Emerson Drive has had a great year, but only one real hit, which leaves us with two possibilities. While vocally, Little Big Town might be the cream of the category, you can't deny the power of tickets, the power of sales, and the power of songs chosen. Rascal Flatts has all three in their corner.

Gwen: You can't deny the power of Joe Don Rooney on guitar, either. Just from a woman's point of view, you understand. But seriously, I agree with you on this one. In a perfect world, Little Big Town would walk away with it. They have the talent to justify it.

Scott: However, in a perfect world, the Dixie Chicks would have never lost this award.

Gwen: Scott, are we getting political again? Wait -- this is the CMAs. Never mind.

Scott: Let's go to Video of the Year. Who are the lucky nominees?

Gwen: That would be "Moments" by Emerson Drive, "Before He Cheats" by Carrie Underwood, "Anyway" by Martina McBride, "Online" by Brad Paisley, and "You Save Me" by Kenny Chesney.

Scott: A varied lineup this year, featuring the inspirational hits from Emerson Drive and Martina, a dramatic statement from Mr. Chesney, a side-splitting humor piece by Brad Paisley, and Carrie Underwood wearing leather and carrying a baseball bat.

Gwen: Well, given those descriptions, I could almost guess what you would choose...

Scott: Actually, I would choose "Wasted." Carrie on the beach is much more appealing! But in all seriousness, I think the most entertaining of these videos -- and the most talked-about -- was Paisley's ode to the search for love via cyberspace. Throw in the fact that the CMA always loves attention from Hollywood, and Jason Alexander directing this video fits that bill quite nicely. Plus, cameos from William Shatner and Maurrean McCormick made this one a delight from start to finish.

Gwen: You're the silly one, and I'm the serious one, which might account for our difference in opinion here. I'm all for "You Save Me" on this category, especially when the director's cut is taken into account. So much more backstory is told with an additional two minutes, and it adds a sweet flavor to the video that isn't there with the television-friendly version.

Scott: Then again, there is Carrie Underwood and the bat...

Gwen: And the leather, Scott. Don't forget the leather.

Scott: Well, she is America's Sweetheart...

Gwen: Moving on yet again --

Scott: Do we have to?

Gwen: Tony Romo probably wishes we would.

Scott: Ouch.

Gwen: The next category is Musical Event of the Year. Reba McEntire and Kelly Clarkson with "Because of You," "Find Out Who Your Friends Are" by Tracy Lawrence featuring Tim McGraw and Kenny Chesney, "Hey Good Lookin' (Live)" by Jimmy Buffet with George Strait and Alan Jackson, "Missing You" by Alison Krauss and John Waite, and finally, "The Reason Why" by Vince Gill with guest vocalist Alison Krauss.

Scott: I find it intriguing that the most high-profile collaboration of the year -- Tim McGraw and Faith Hill -- didn't get nominated.

Gwen: This isn't the only category where the duo are noticably absent. When we talk about numbers, they definitely have it, especially when considering the success of their tour over the last few years. I'm thinking Faith's ill-timed reaction to Carrie Underwood's Female Vocalist win last year caused them a lot of grief among the industry when voting time came around.

Scott: Probably didn't help, but when you have a live version of a song that was a hit from two years ago in "Hey Good Lookin' (Live)" being nominated, you just have to wonder about the validity of this category.

Gwen: My personal pick for this category is the Tracy Lawrence song, "Find Out Who Your Friends Are." I admit, I'm biased thanks to the ridiculous actions of BNA Records when it became apparent Tracy was a true competitor the top slot on the country chart. That move backfired on them and gave Tracy a well-deserved number one, and hopefully the big labels will be taught a lesson when Tracy takes home the CMA Award for the very song BNA tried to make country radio boycott.

Scott: If Nashville music industry were a democratic society, that might be true. Rocky Comfort Records probably doesn't have the clout in this category. You have to look at the one-two punch of one of the most talked-about collaborations of the year between Reba and Kelly.

Gwen: Unfortunately, you're probably right. Even so, my heart beats for the underdogs, so I'm going to be hoping Tracy's name is called from the stage that night.

Come back tomorrow for Part Three, the last of our CMA Predictions. If you missed Part One, check that out here.

CMA Predictions with Scott Roland: Part One

On Wednesday, November 7th, it's once again Country Music's Biggest Night -- the 41st Annual CMA Awards. Here are our predictions, as promised -- no holds barred, no sugar-coating -- just the straight-up opinions of two people who have been involved in the country music industry for more than a decade.

In the interest of full disclosure: No, we aren't going to vote in this year's CMA Awards, so our comments don't breach any sort of CMA rules. And in the interest of even further disclosure, Scott Roland is the husband to yours truly...since I talk about him quite a bit, it's time he introduced himself, don't you think?

Reader, meet Scott (or at least, his official short bio):

Scott Roland is the alter ego of a man who does a little bit of everything. A Nashville-based journalist and popular radio personality, Scott also serves as a living encyclopedia of country music history. He loves long road trips, spends far too much money at the Ernest Tubb Record Shop, obsesses over the Dallas Cowboys and goes out of his way to spoil his children. Scott and his wife, novelist Gwen Masters, share a historic home on the outskirts of Nashville.

Now that we've all been introduced, let's get down to it!

Gwen: Since this is the beginning, let's talk about artists who are just beginning: The Horizon Award. Nominees are Rodney Atkins, Jason Aldean, Kellie Pickler, Taylor Swift, and Little Big Town.

Scott: Once again this year, this is a very challenging category. Rodney Atkins has had a lot of success but his record label doesn't really have the blocks of votes needed -- not enough industry pull. Jason Aldean has the same problem. Little Big Town is probably the most talented of the five nominees, but again, Equity Records is faced with the same problem as Aldean and Atkins -- plenty of talent but not enough industry backing. That leaves us with the two opening acts for Brad Paisley's tour this year. While Kellie Pickler has the Sony/BMG machine behind her, Taylor Swift has the undeniable numbers to assure that she wins this crown. My pick? It's Taylor.

Gwen: As usual, you're the realist and I'm the idealist. I look at artists and think about who should be at the top of the heap from an artistic standpoint, which never, ever jives with the industry view. So I'm hoping the CMA finds Taylor Swift a bit too young for this one, as her big hits have come in the last year, but she doesn't have a history beyond that. Jason Aldean, however, has turned in a flat-out amazing second album, and he's been around for a few years with a major presence. Broken Bow doesn't often make a misstep with their acts, so I'm thinking: Jason Aldean.

Scott: Well, that's what the definition of the Horizon Award is: Most career development in the past year. So taking a look at where each of the performers were a year ago, versus right now, I don't see any other choice but Taylor. But remember, that's by definition, not necessarily by opinion.

Gwen: The definition makes sense, but like I said, I have an idealistic view, and it doesn't all have to be about sales and high-powered publicists and sex appeal. Hopefully, CMA voters will go with their hearts instead of the industry pocketbooks.

Scott: Numbers are hard to disagree with, my dear.

Gwen: You're right on that. Moving on, let's visit the category I'm sure you're most interested in, Scott: Female Vocalist.

Scott: The nominees are Carrie Underwood, Alison Krauss, Martina McBride, Reba McEntire, and...who is the fifth nominee?

Gwen: Miranda Lambert. Interesting that you left her name out...

Scott: It's a fairly easy category to dissect this year. While I'm as big a fan of Reba as anybody, one duet with Kelly Clarkson does not an award-winner make. Alison Krauss simply doesn't have the radio support to figure in this from a female vocalist standpoint, and Miranda is simply too new.

Gwen: But Carrie Underwood was so new last year, you could practically say she was still a baby.

Scott: True, my dear...but Carrie has the numbers behind her, where Miranda does not. In this category, it really comes down to Martina and Carrie. While I personally think Martina could be the Female Vocalist every year, if you look at the statistics for this year, it's a fairly easy pick. Carrie Underwood takes it home.

Gwen: Now that we've talked about sexy females who can sing, let's go to one of my favorite categories: Male Vocalist. Nominees are Kenny Chesney, Brad Paisley, George Strait, Josh Turner and Keith Urban.

Scott: Wow. In this category we have a huge contrast -- the newness of Josh Turner, combined with the time-tested appeal of George Strait.

Gwen: Before we go any further, congratulations are in order to Josh. He was invited to join the Grand Ole Opry, and by the time the CMA airs, he will be a member. I think we'll see quite a bit of Josh on the nominee list in the future.

Scott: Most definitely. Josh is a very deserving artist for the Opry honor. I think it will probably be the only honor he gets this year, as he is simply too new against this competition. On the other hand, I don't see the grand veteran, George Strait, reclaiming his Male Vocalist throne. I think while Kenny Chesney and Keith Urban both have had stellar years, the popularity of Brad Paisley -- with both fans and industry -- nets him this award.

Gwen: I agree with your points on Josh Turner and George Strait -- Josh has some seasoning to go yet, and I just don't see George taking this one home. Brad Paisley is a fantastic artist, but he's not exactly the best vocalist out there, and that's what this category is about, right? So don't discount the two big names from the last few years -- Kenny and Keith. Keith has been the reigning champ in this category, but I think the overall tone of the industry for the last few years has been turning away from him, and that leaves Kenny as the winner this time -- but only by a very thin margin.

Scott: Do you really think Kenny is the better vocalist?

Gwen: If we were going by terms of vocal ability alone and not taking the whims of the industry into account, Josh Turner would win the talent contest. No question.

Scott: Well, you know what they say about opinions...

Gwen: That's true, and I love you anyway -- even though you're wrong.

Scott: Wait a minute. Are you PMS-ing again? Should I take cover?

Gwen: No, we should just move on to Vocal Duo of the Year . Look -- a list of actual contenders! Nominees include Big & Rich, Montgomery Gentry, Brooks & Dunn, Sugarland and The Wreckers.

Scott: Finally, this category has a little bit of competition. You've got the stage moxy of Sugarland. The quirkiness of Big & Rich is finally starting to take flight. Montgomery Gentry have matured one-hundred-fold as artists over the last year. The Wreckers have already gone to solo projects, so they aren't really contenders anymore. At the end of the day, you're still going up against one of the best voices in the business -- Ronnie Dunn. So Brooks & Dunn gets my pick.

Gwen: Personally, I'm a huge fan of both Big & Rich and Montgomery Gentry. I would love to see Eddie and Troy take the award home this year, and in a perfect world, they would be my pick. Brooks & Dunn have won it for years and years, and my affinity for underdogs makes me hope somebody else takes it -- though, given the climate of the industry and the fact that Brooks & Dunn are the darlings, it probably won't happen.

Scott: The fact that Kix Brooks is on the CMA Board probably doesn't hurt their chances, either.

Gwen: Are you saying it's really about who you know and not so much about what talent you have? Surely you jest!

Scott: I'm not saying anything of the sort, but it is a contest. Their harmonies are enough to win it, but every little edge on their competitors doesn't hurt.

That's it for Part One of our CMA Predictions. Check back tomorrow for Part Two!

Road Trip: The Natchez Trace Parkway

This weekend, we took a ride along the Natchez Trace Parkway. It's a two-lane road that runs through Tennessee and Mississippi, following roughly the same route as the original trail.

It was an absolutely gorgeous day for it! The sun was bright and the air was filled with the first crisp, cool bite of autumn.





Those photos were taken from one of the many overlooks on the Tennessee side of the Natchez Trace. Of course, I loved looking at the many barns that dot the sides of the road, too...



The trip was flawless...with the slight exception of watching out for these big boys, because they had a habit of coming right up on the road:



We wound up at Loveless Cafe, where we spent way too much money in the gift shop, laughed a lot and met up with old friends. The trip was worth every last minute. Highly recommended!