If there is a problem with “music these days”, I think it’s a lack of really good producers.
Producers who have been put through the ringer by the music industry, learned how to play those b.s. games, and are able to guide upcoming musicians through that gauntlet to get their best work out of them. The likes of Quincey Jones, Dre, Rick Rubin, etc.
The musical talent and vision is there. The audience is there. The recording companies have always sucked.
Hahaha…it still is for some of us. Got yer back brother. LOL
The problem you describe is being created by those few record companies who essentially control the market and in most cases all of what they are willing to record, distribute and promote. It’s not Burger King. You get it their way or no way at all.
This is a whole lot different than the '70s when artists and their producers had far more say in what was recorded and how. Now it’s more like '60s Motown were one man, Berry Gordy, had complete control of his artists and their material. It was a music production machine like many we have today.
By controlling it all in a turn key manner the recording companies don’t have to pay out “points” to song writers and producers. They get to keep all of it themselves so artists only record what they themselves produce for them unless you become an exception who can own and produce yourself.
There’s a fairly impressive list of those who’ve done just that.
Please. Joy Division’s Unknown Pleasures clearly takes this prize, unless you can cheat and lump Skinny Puppy’s Bites and Remission into a single album (since that is how Nettwerk sold the CDs).
Spoiler alert: it’s already happened and is in progress now 
As I keep saying, there’s more great music being made right now than at any other point in history. It’s just no longer spoon-fed by greedy labels.
That would be a nice change. Maybe I do need to listen to some current stuff more often. The biggest problem is usually finding good sources for it. Most radio stations aren’t it.
Living in an apartment now also limits just how loud I can play anything so my sound system is two Echo devices playing in stereo sitting at my work station. They’re a far cry from studio grade monitors or even a good stereo set up but they’ll do if only because I can ask Alexa to retrieve and play just about anything out there Amazon has on tap. And that’s a lot.
The Signal::Noise ratio for finding good music is the other big challenge. Word of mouth in places like here is invaluable to finding the best stuff. Streaming is the dominant way of listening to music. What is your main service? Spotify? Amazon? YouTube?
New or newer stuff that I think you will like given what you’ve shared as your taste for Blues Rock and R&B (I have DJ’d all of these artists for Blues dancers):
Vulfpeck - you play bass, so I presume you’re familiar
Marcus King - soul, blues, country(?), modern R&B(?). Kind of tough to categorize neatly. Album: Mood Swings
Fantastic Negrito - Blues Rock. But like… instead of Hip Hop taking inspiration from Blues and R&B, imagine someone who grew up listening to hip hop becoming a blues musician. Album: ‘Please Don’t Be Dead’
Anderson Paak - blurs the lines of Hip-Hop, Funk, and R&B. Album: Malibu
Thundercat - funk, soul, hip hop, misc. Formerly the bassist for Suicidal Tendencies now doing solo and collab work. It’s like… Victor Wooten level virtuosic playing doing club dance music about black nerd culture. Album: ‘Drunk’ and ‘It Is What It Is’
I kind of want to elaborate a bit on what I meant about good tools being there to help with this now. Randomization and chance experimentation have become kind of first class citizens in music production and there are tools that lean in to this hard.
This is a simpler example here, a nice inexpensive step sequencer called Seqund:
In the image, the columns represent subdivisions of beats in a bar. For the example in the image, this is a repeating pattern of 15 16th notes - kind of weird but whatever.
The “Gate” row filters which notes will play at all.
Ignore “Hold”, “Length”, and “Ratchet”, these are expressiveness controls.
“Chance” determines the random chance that a note will play or not. In this case, the 16th notes on all the set beats will play.
The “pitch A” sets the primary pitch of the note to play, in scale degree offsets of the scale at the bottom. “Pitch B” sets an alternate note to play, and the “Probability A/B” control lets you bias towards either.
The numbers down the third column from the left sets the number of notes in the repeating pattern for each of these. In other words, the rows can loop in different spots from each other.
The dice icon next to it generates random values for the whole row. As all the pitches are in a given scale this can lead to cool outcomes, both tonally and rhythmically.
This is a pretty simple example of this kind of thing but pretty well illustrates what I was getting at - tools like this take the “cool sounding mistakes” thing and elevate it to a first class technique in production. It’s just a really neat thing for imaginative experimentation and it reminds me a lot of the early knob tweaking on old synths and sequencers that led to a lot of the early techno.
The tools are just so damn good now it’s kind of crazy. This thing costs $39 right now.
…and it’s not even hard to find. There has never been a better time for listening to excellent music than right now.
The democratization of music production has had both good and bad effects. On one hand, as I mentioned, there is more good music being made right now than at any point in history - it’s just crazy how much is easily available out there, and the tools getting better and cheaper can only be a good thing.
On the other hand, it has enabled a lot of hot garbage too, and sometimes that gets picked up by influencers and becomes popular.
So, the Signal/Noise ratio is off. While there is a vastly greater amount of Signal now, Noise has increased even faster
But there’s some high quality islands of good stuff to start searching from and branching out. Depending on genre you just need to locate them.
As far as big name producers go they are also still a thing, just less Quincy Jones-like AFAICT.
One thing that has happened is that top tier remixes and mixing is no longer a niche thing, but rather an easy thing for many to do now - the DAW is the perfect tool for this and so you’re seeing a ton of great mixing and production going on on Youtube and other places. These days, everyone can be Razormaid 
I have Amazon Music and I watch YouTube for videos but the hours I can devote to listening to music are far more limited that they used to be. Nonetheless I’ll check out some of those you’ve suggested.