For fans of 60s / 70s "Classic Rock," which newer bands do you feel have been "passed the torch?"
I've been listening to two that immediately come to mind, Black Stone Cherry and Blackberry Smoke.
One of Gregg Allman's final studio appearances was on Blackberry Smoke's "Free On the Wing"...
The Allmans' Warren Haynes also guested on Black Stone Cherry's "Dancin' In The Rain"...
There are also "supergroups" of established players such as Black Country Communion and Dead Daisies, but I'm thinking more of relatively newer bands who have come up through the ranks, established themselves, and are carrying on the "Classic Rock" tradition while adding something new of their own.'
Your picks?
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I first discovered them with the Gathering Speed and Difference Machine albums, the only two featuring vocalist Sean Filkins.
"Perfect Cosmic Storm" is still my favorite track out of anything they've done
David Longdon sounds enough like Filkins that there wasn't a major shift in their sound when Filkins left.
Filkins had a pretty decent solo album after leaving BBT:
Forgot about the mighty Wolfmother.... 
My son introduced me to them.
...the same CD store I worked for had an "in store" appearance scheduled with them, which they blew off at the last possible minute, after a crowd had showed up. C'est la vie...
My favorite P.T. track is probably "Even Less" from "Stupid Dream" ( this is the extended version from "Recordings" ):
I frankly had a hard choice deciding on which song to link up to this thread, they have so many great songs. Both live and studio, my Youtube channel is heavy with PT. Too many to link but some of my favs for those interested to google
The Start of Something Beautiful
Trains
Arriving Somewhere but Not Here
Deadwing
Or under Steven Wilson some really creative progressive
Drive Home
The Raven that Wouldn't Sing
There's literally a wealth of music here for anyone who's never discovered PT.
One more:
All of his albums are great, and his live shows are even more amazing. If I have to pick a favorite it would be very difficult!
Don Cheadle was right, it certainly was no linear biopic, It made sense in the same way Miles' life did (it didn't), and the same way his music did (it didn't). Miles was just Miles. I own everything he played after landing on Columbia Records (not really a fan of the Prestige work). The casual jazz fans all own Kind of Blue and Sketches of Spain. The real Miles fans also own Pangaea, Agharta, and Dark Magus.
What surprised me is that Cheadle went full-bore method actor, and in the scenes where he is playing the horn, he's actually playing. The "making of" documentary on the DVD is really worth watching. In addition to Herbie Hancock being involved in the "stage band," they also had Gary Clark Jr., a guy who probably would have been amazing if he had actually played with Miles.
Miles cracked the sky on electric guitarists in jazz bands. He started off with George Benson, and the "Miles In The Sky" album was certainly tasty, but it was McLaughlin who really knew how to follow Miles out into uncharted territory. Jeff Beck has included "You Know, You Know" in his set lists for the last couple of years.
That whole 1970-1972 period...McLaughlin with and without Miles...was so ahead of its time that it's never come close to "growing old."
I highly recommend "Miles Ahead"...there's some unintentionally hilarious stuff in there. I say that because Cheadle, as Miles, says a few things that leave people with their heads shaking, but he's just being Miles, it all makes sense to him because none of it makes sense. In one scene he's listening to a playback of some of his "retirement" era music and is asked "You're not playing on this?" He replies "I'm playing organ." He's asked "Organ?" Without flinching he says "Organ, man." Because he was "supposed to" play the horn, and the easiest way to get him to do something was to tell him he shouldn't be doing it.
As wildly improvisational as the original Mahavishnu was, they ultimately were more structured than some of the mid-70s Miles lineups. I remember reading a review of the Pangaea / Agharta / Dark Magus albums and the concept of "cacophony resolving into moments of brilliance" was tossed in. It's true. You can listen to a 10 minute stretch of 10 musicians on stage all playing in different directions, and all of a sudden, without warning, THERE IT IS...the brilliance.
...I was heavily into the "first wave" of Prog...Yes, Genesis, King Crimson. Never really a major ELP fan because, as a guitarist, I always wanted the guitar to have a central role in the band.
Worked as Webmaster for a local CD store that had a pretty sizable Prog section. At the time I wondered why they needed such a large section for so few bands. Then I got my education.
Became a major fan of the "second wave" of Prog...Marillion, Spock's Beard, Dream Theater, Flower Kings, Jadis, RPWL, and all of the associated solo acts / "supergroup" offshoots like Transatlantic.
Here's Marillion's Steve Rothery with "Summer's End"...
A Spock favorite from the post-Neal Morse era:
The Flower Kings' "Touch My Heaven," sort of a must-hear track for anyone into Pink Floyd:
And RPWL, which actually started out as a Pink Floyd cover / tribute band, with one of their most "Floydish" ongs:
Here's them doing Beastie Boys....
Black Joe Lewis & The Honeybears
Nice little Brian Wilson / "Good Vibrations"-style breakdown around the 2-1/2 minute mark.
Definitely reminiscent of ELO, which made the Beatles overtones automatic by default, and THAT reminded me of Bob Mould / Sugar's "Your Favorite Thing," which is a little louder and more bombastic, but if you listen to it you will see that it is drawn from the same Beales "well."
