Originally Posted by: BillCrandell
I also like to try and play lead over my recordings and am currently trying to understand more about music theory so I can apply it to my creative endeavors.
[/quote]
I encourage you to go through GF2 in which you will find a concise overview of theory covering the fundamentals: intervals, scales, chords & how they are all integrated.

http://www.guitartricks.com/course.php?input=2

After that look at my brief intro to music theory:

http://www.guitartricks.com/tutorial.php?input=495

After that you will be ready to look at these on how scales & chords are related, how to understand the key of a set of chords, then how to solo over them! Intro to improvisation:

http://www.guitartricks.com/tutorial.php?input=876
http://www.guitartricks.com/tutorial.php?input=483
http://www.guitartricks.com/tutorial.php?input=491

Originally Posted by: BillCrandell
Recently, I've been introduced to inversions and triads and I am also working on playing the CAGED forms of chords up the neck in all positions.[/quote]
Inversions are a wonderful, powerful tool in opening up the fretboard to voice chords in anyway you want to suit your creative desires:

http://www.guitartricks.com/tutorial.php?input=148
http://www.guitartricks.com/tutorial.php?input=730
http://www.guitartricks.com/tutorial.php?input=731
http://www.guitartricks.com/tutorial.php?input=733
http://www.guitartricks.com/tutorial.php?input=734

Originally Posted by: BillCrandell
I-IV-II-bVII: C - F - Bb (What about this Bb flat here? Should I move to the key of Bb for this chord?)[/quote]
Those chords can all actually be regarded as the key of F major:
F (I) - Bb (IV) - C (V)

So you could look at it like the F major scale to solo or you can call in a C mixolydian progression because of the bVII. Which is the same thing as F major but regarding the note C as the root.

Alternately, you can also view them as in the key of Bb. This actually makes the most sense to me simply as a group of chords (without knowledge of the melody). Because, then you have a perfect slice of the circle of fifths with a nice modulatory chord that ends on a I chord:

C (II or V of V) - F (V) - Bb (I)
[QUOTE=BillCrandell]
I-IV-bIII-bVI: C - F - Eb - Bb (What about the Eb and Bb here? Should I do the same as above?)

That is more of a completely modal chord group. Essentially you need to pick one as the root and then one as a modulation chord to adjust your scale when that chord is happening. Look at the tutorials on improv linked above for conceptual approach.
[QUOTE=BillCrandell]
I-bVII-bVI-Vm: C - Bb -Ab - Gm (And finally, a Gm in the key of C??? Not to mention the Bb and the Ab. What should I think about here?)

Sure, why not? If you like the sound, if it fits your desired intention & melody, then use it. Again refer to the improv tutorials. If you need more help, please ask in my instructor forum!

Remember, the first chord doesn't have to be regarded as the root (I) chord. :) Jazz & classical frequently do this: point to or end on the I.
[QUOTE=BillCrandell]
My most familiar fingering pattern for the major scale is the key of G and I tend to follow the root on the low E string to switch scale positions.