The Light Crust Doughboys 1938 recording 'Pussy, Pussy, Pussy' features breakneck bass, wild tempo, and some proto- boogie infused elements, but it ain't rockabilly.
If you create a style and no-one is doing it for over a decade, then you're a precursor.
However if you're like Bill Monroe and you do something with a certain sound and within two years there's a whole bunch of others recording and performing in that style, then you've invented a genre.

At least, that's my thoughts on founding a style.

Rick, that's a fascinating point.
I know I've heard Boenzee Cryque on one of those late 60s teen-exploito films and I don't recall them sounding at all country-ish, maybe they were different live or when they were still in Colorado.

I look at any rock-pop band with steel (the Green Beans, Sir Raleigh & The Cupons, the Misunderstood, the Impacts, Boenzee Cryque, Santo & Johnny, the 5 Whispers, etc) that predate the original outgrowth of country-rock (1967 or earlier) and not having discernable country elements in their style, as most definately not a direct influence.
Moreso an influence of steel being more acceptable to a new generation, which indirectly influenced younger players to some degree, but as the sounds created were not country, it's to a lesser degree.

I've yet to run across a country-rock steeler who has mentioned any of the steel-rock bands or their players as an influence.
Whereas, and this is mostly a West Coast thing, in the case of the up and coming country-rockers and future country greats, albums like Sweetheart, Red Rhodes's session work and going to see either Red or Jay Dee at the Palomino, really showed them what was going on and what could be done with a steel.
The 1969 tours of the Burritos, Poco and Ricky Nelson's Stone Canyon Band really changed some heads as well, hearing the records and seeing the bands were both important elements of broadening what was a relatively unsuccessful sound in the commercial market of the time.

There's no doubt that Furay and the Buffalo Springfield crew were blown away by Rusty and invited him to come into the studio, but as they took a guy playing rock and made him country, they obviously saw a talent, but moreso someone their own age that they could get to play in the style of the older - straighter country guys.

If anything it shows the younger rock crowd were distant from the country clubs, because any of the Buffalo Springfield guys could have walked around North Hollywood and found guys like Sneaky Pete, Carl Walden and Red Rhodes who were already doing pop/rock steel in the studio (and live in Pete's case).

There's no denying the massive importance of that gig, a nice little eye opener, but Hillman for one was already trying to get steel into the Byrds' sound and recorded with Red Rhodes and the Gosdins in 1966.
Who knows what Furay might have done without seeing Rusty, just hired a steel player from L.A.?, I like to think that seeing Rusty fired Furay's imagination.

quote:

---

I thought you was "hip"?

---