A few links, recently discovered, that illustrate the diversity of western swing and its influences:

First is an Amazon "Listmania" list by Tony Thomas, one of Amazon's top 500 reviewers. The list is entitled "Western Swing: what it is and what it ain't" and includes Thomas's recommendations and comments on 22 CDs and box sets and 3 books. His introduction:

Too many people think of Western Swing as a varient of "Country" music. In fact, the classic Western Swing of the 1930s and 1940s was closer to Jazz and Blues music and was a completely different animal than country music of its time. Indeed, the one time Bob Wills, the greatest Western Swing star, appeared on the Grand Ole Opry, he was almost physically removed for using a full drum kit and smoking a cigar on stage. Go to the net page for each item to read my online reviews that go deeper into the history of Western swing. Besides all this, every one of these recordings is a load of fun to listen to.

Thomas covers albums from different eras of Bob Wills's career (the prewar recordings on OKeh and Brunswick), the Tiffany Transcriptions of the '40s, the MGM recordings from the late '40s and early '50s, For the Last Time from 1973), includes several other key western swing band leaders (Billy Jack Wills, Milton Brown, Spade Cooley, Tex Williams, Leon McAuliffe, Adolph Hofner, Moon Mullican), the western swing revival (Asleep at the Wheel, Merle Haggard, Hot Club of Cowtown), and early influences on western swing (Mississippi Sheiks, Emmett Miller).

This article by Norman Weinstein, called Secret Jazz: The Swinging Side of Western Swing, explains how the sound of a famed jazz trombonist influenced the emerging sound of the steel guitar and how elements of the Delta blues, New Orleans jazz, big band swing, bebop, and progressive jazz found their way into the western swing repertoire. He opens the piece with this: "Western Swing is a musical genre wonderfully described by its leading historian Cary Ginell as 'a bastard child that neither country nor jazz is willing to accept into their own house.'" And here's how Weinstein tries to define western swing: "The simplest way to define the genre is to identify it as a style evolving from a hybridization of black and white Southwestern string band styles encompassing a broad variety of jazz, blues, and country music characteristics."

It should be pointed out that western swing isn't by any means disconnected from country music, but it may be more accurate to call it an influence on country rather than a branch of country music. Country stars from Oklahoma, Texas, and the Central Valley of California grew up listening to western swing and it shaped their sound -- older generation artists like Willie Nelson, Ray Price, Merle Haggard, and Buck Owens (who in turn influenced Dwight Yoakum), and more recent stars like Reba McEntire, Vince Gill, and George Strait. And while Hank Williams isn't considered western swing, you can hear the genre's influence in his band's use of steel guitar and rhythm guitar.

If you listen to Hank Williams, it was at the peak of Bob Wills' influence, and a lot of Hank's stuff has got Western swing kind of stuff in it, especially the guitar playing, which for me was the whole thing. Like the Texas Troubadours; [Ernest Tubb] is a direct outgrowth of Bob Wills, but it was real country. That's where we came from. On a break, the Texas Troubadours would play hot jazz Western swing, and then Ernest Tubb would come up and go, "I'm walking ..." boom-chucka, boom-chucka. Which is where Junior Brown gets his sound.

That was from Ray Benson, whose band Asleep at the Wheel has led the western swing revival. Plenty of country artists are fans of western swing, and Benson had no problem recruiting country stars to perform on his two albums of Bob Wills music. Here's an Austin Chronicle interview with Benson on the 1999 launch of the second tribute album, Ride with Bob:

Six years ago, in 1993, the Wheel put out an album that was considered a landmark in the band's already storied history: Tribute to the Music of Bob Wills. It was a star-studded collection that not only won the band a Grammy, it also brought together the old masters -- former Texas Playboys like Eldon Shamblin, Leon Rausch, and Johnny Gimble -- with modern-day Nashville staples like Garth Brooks and Suzy Bogguss, and even an oddball or two, such as Benson's old pal Huey Lewis. And they made it sound great; even the bland, middle-of-the-road types who get blamed for country's current sad state came off sounding like diamonds, and the Wheel reached new audiences that had likely never heard of either them or Wills....

Later, Benson explains how his own eclectic musical tastes led him to western swing in the early '70s:

But as a kid, that was my first group there -- see those four kids? [Points at a black-and-white photo on the wall.] That's me at the top in 1960, and we sang folk music, 'cause folk music was big: Kingston Trio, Woody Guthrie, the Carter Family, the Lamplighters. All these musical influences were kind of going around, and then in 1969, we decided to form a band and get back to the land, which is where all the hippies were going anyway; get out and play country music, half because of Bob Dylan and half because of Hank Williams. But I had all these other musical influences. And I loved the blues. I knew everything. I didn't realize that there was compartments to music, 'cause we listened to all this music and we played it all.

So when we got to do this country band, we said we've gotta narrow our focus down. So we just played hillbilly music. And we said, "Wow! We really want to play roots music." That was our rallying cry: "We're going to play roots music!" I hate Led Zeppelin. Really. I hate white guys sounding like wimpy blues singers. But we loved blues. I love Jimi Hendrix. So we formed the band. We started doing this thing, and then the creative urge to play, to jam, to improvise especially, was there, and I couldn't do it in country music. You did a turnaround or half a chord, you know what I'm saying?

All of the sudden, Western swing entered, and I went, "Wow, I can sing hard songs with country themes and play fiddle breakdowns like I've always played in square dance bands. I mean, you could do it all. I could play swing music, improvise jazz however complex you want within the structure they give you, and wear a cowboy hat. That was the deal. That's how it all happened.

Finally, here's an article from the March 13, 1950, issue of Time magazine (bless you, Time, for putting your complete archives online) about the origin of the song "Rag Mop," a top pop hit for Johnnie Lee Wills and His Boys. It all started when steel guitarist Deacon Anderson was in the Army:

"Deacon" Anderson, 26, had worked out a kind of K.P. chantey as he swung his mop. As he explains now: "It's hard to think up words with any sense when you're tired, and I got to spelling out r-a-g m-o-p."

To Anderson, who now plays in a Western band in Beaumont, Texas, the result added up to a song; he gave it a hillbilly beat and tried it on his steel guitar. After the war, he tried to sell the song, but everyone around Beaumont thought the whole idea was just plain silly. Last year he made a recording—he didn't know how to write the notes down—and sent it to a friend with the Johnnie Lee Wills band. Says Tulsa's Johnnie Lee, the idol of the Southwest's square-toe boot and blue-jean set: "At first I thought it was crazy. Then it kinda irritated me." He rearranged it, added some notes and a little pep & polish.

At least some folks think that "little pep and polish" turned "Rag Mop" into one of the first rock and roll records.