Agreed, not sure Albarn's catalogue is as substantial. Demon Days is easily his best record (Blur included), Plastic Beach is pretty good, The Nearer The Fountain is probably the best thing he's made since then. Those releases are all pretty strong. But there's some weak stuff there too, some forgettable and lesser work.

The other thing about Gorillaz is that it was immeasurably strengthened by Jamie Hewlett's half of the project. I adored it as a teen - that mid-noughties period was so very good - but after 2006 or so (I think there was an aborted film here) the two sides of the project began to spiral apart. The live concerts in Manchester and Brooklyn were probably the apex of Gorillaz as a genuinely strong artistic endeavour. Now it's all about getting Elton in the recording booth and flogging bits of tacky merch to kids. It's a shame, they came in strong with the visual aspect in 2016 but the music wasn't up to scratch.

At individual albums, as whole, thematic, rounded projects, I don't think Cocker has done so well - Pulp never mastered the art of creating albums - but I think that's partly because his records are replete with diversions and corners and suchlike. They don't fit quite so well into the album template, but they never have any filler or any lyrics that aren't meaningful - EVERY Cocker release must be savoured for its lyrics, which is not something Albarn achieves. I think overall Jarvis's output is much more persuasive, more pointed and meaningful, and more wry and relatable than Albarn's. And that's not to knock Damon's attempts to swirl together genres and musical strands across cultures (god this is getting into pseud territory)... Basically, quality over quantity and all that. Damon couldn't do HMANL but Jarvis could do Cracker Island. Not that I'll be listening to his HP music anytime soon, those books are bilge.

yes, in Get him to the Greek