This probably isn't the answer you want but...it really depends on a large number of variables.
Are you the only guitar player in your band, or are you competing for frequencies with someone else?
Are you playing through a clean amp, or an amp that is on the verge of overdrive, or is your amp already good and dirty without the fuzz turned on?
And of course...what kind of tone are you looking for, specifically?
In practice, sounds that are satisfying when you're playing alone or at low volumes don't work as well in a live situation. What we perceive as "warm" or "natural sounding" can easily become inaudible mud when battling it out with bass and drums and another guitar. Often it is the tones that sound harsh or overly bright that cut best through a live band. Context is everything.
Fuzz guitar lacks in attack compared to undistorted guitar, and this is what gives it the illusion of being "buried" by other instruments. If you are trying to combat this with fuzz set above unity gain, keep in mind that an overdriven amp won't react to the volume boost the same way a clean amp will. In many cases it will simply get more overdriven and wooly sounding, thus defeating the attempt at a volume boost. To complicate matters further, a fuzz will lose a lot of its cutting buzzy harmonics when fed into an overdriven amp, yet at the same time many people dislike playing a fuzz into a clean amp because to them it sounds too buzzy and unnatural. This, of course, is a matter of taste - do you want to sound like Jimi Hendrix or Davie Allan?
This probably isn't the answer you want but...it really depends on a large number of variables.
Are you the only guitar player in your band, or are you competing for frequencies with someone else?
Are you playing through a clean amp, or an amp that is on the verge of overdrive, or is your amp already good and dirty without the fuzz turned on?
And of course...what kind of tone are you looking for, specifically?
In practice, sounds that are satisfying when you're playing alone or at low volumes don't work as well in a live situation. What we perceive as "warm" or "natural sounding" can easily become inaudible mud when battling it out with bass and drums and another guitar. Often it is the tones that sound harsh or overly bright that cut best through a live band. Context is everything.
Fuzz guitar lacks in attack compared to undistorted guitar, and this is what gives it the illusion of being "buried" by other instruments. If you are trying to combat this with fuzz set above unity gain, keep in mind that an overdriven amp won't react to the volume boost the same way a clean amp will. In many cases it will simply get more overdriven and wooly sounding, thus defeating the attempt at a volume boost. To complicate matters further, a fuzz will lose a lot of its cutting buzzy harmonics when fed into an overdriven amp, yet at the same time many people dislike playing a fuzz into a clean amp because to them it sounds too buzzy and unnatural. This, of course, is a matter of taste - do you want to sound like Jimi Hendrix or Davie Allan?
First one that comes to mind is the Jordan Bosstone. It will go from "almost amp-like overdrive" to full-on fuzz and responds to your guitar's volume like a fuzzface. I am not familiar with any of the current repros (Mahoney?) but out of my pile of 60s and 70s fuzzes, the Bosstone is one of the two that actually works in a live setting and will cover a pretty broad range of dirt with great aplomb. These were used extensively by country players (both guitar and steel) in the 60s, tonally it may very well fit the bill for what you're describing.alt-country stuff
First one that comes to mind is the Jordan Bosstone. It will go from "almost amp-like overdrive" to full-on fuzz and responds to your guitar's volume like a fuzzface. I am not familiar with any of the current repros (Mahoney?) but out of my pile of 60s and 70s fuzzes, the Bosstone is one of the two that actually works in a live setting and will cover a pretty broad range of dirt with great aplomb. These were used extensively by country players (both guitar and steel) in the 60s, tonally it may very well fit the bill for what you're describing.
The other one is a Mosrite Fuzzrite, but that may be too over-the-top for your purposes. One thing for sure, it will cut through anything, no matter how many instruments you're competing with. The relatively inexpensive Ashbass sounds pretty much indistinguishable from my original. These are extremely buzzy and treble-happy through a clean amp, but take on a whole different (and much more ear-friendly) personality through a cranked amp, especially rolled down (they blend in clean signal in the lower ranges of the fuzz knob, for some reason no one uses those settings - in all fairness they sound pretty weird through a clean amp but are very cool through a cranked one).
As much as I love them for recording, I would stay away from octave fuzzes of any kind (unless you're doing some kind of Hendrix thing), they are the most difficult to dial in and control in a live setting, at least with my setup. Even when you get them sounding decent, they only do full-on crazy psych fuzz, no milder flavors available. My SuperFuzz actually gets weirder when you turn down the fuzz control or the guitar volume!
Big Cheese.