With 1971’s Meddle, the band finally settled into a studio groove. The best of the new songs was the side-long “ Echoes,” over 20 minutes of airtight studio jamming, a bit of jazz and folk, a single, repeating piano note fed through a Leslie speaker, and Waters’ newfound lyrical focus on the riddles of social alienation. Gilmour and Wright’s serenely harmonized voices intone Waters’ lyrics: “Strangers passing in the street/By chance, two separate glances meet/And I am you and what I see is me.” This recognition of a stranger’s shared humanity and pessimistic view that empathy is an impossible thing to communicate was rooted in Waters’ regret at being increasingly unable to reach his friend Syd. But as “Echoes” demonstrated, that fear could be blown out to galactic proportions. Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Barrett watched the moon landing at his Wetherby Mansion flat in London with a group of friends and hangers-on. By 1969, Barrett had disappeared into a haze of quaaludes and LSD that eroded his already-fragile mental health. There was a depressing irony in the fact that Barrett had churned out the whimsical art-pop character studies “ Arnold Layne” and “ See Emily Play” that got the group signed by EMI, then immediately soured on the non-stop promotional requirements that came along with hit singles. When Barrett showed up to live gigs in 1967, he was more of a distraction than a contributor. Forced to lip-sync on TV, he barely moved.