Why on earth couldn't the band secure another regular keyboardist after Bardens left? I mean, every keyboard player I've heard on any Camel record has been good, but was there no group loyalty? Haha! There's a different guy on Nude, on Rajaz (Ton Scherpenzeel?), Harbor of Tears, and A Nod and a Wink. Then again, it seems that it was usually only Latimer and Collin Bass that were the foundation of the group after 1981.

I think that Andy was very selective regarding the material. I've read some interviews were it says that he declined other member's material, because it's not really "Camel music".
So as a player on a band, I would also be a bit disappointed. That is, for example, why Kit Watkins left the band. They only used him as a player, but not as a composer.

It would be interesting to know which members of Camel after the original line up split in 1977 were paid a retainer and which were employed on an album by album or tour by tour basis. My belief is the majority were the latter. When Richard Sinclair and later Kit Watkins joined they thought they would have a bigger say in the writing, but Andrew either wanted complete control or thought their contributions were not 'Camel' enough. It's not to do with any lack of loyalty on part of the keyboard players (or other musicians). Remember, even Colin Bass was dropped for 'The Single Factor'' album and tour.

Good point, tonybaker, I forgot about the Single Factor!

Thanks for your helpful insights; who is your favorite Camel keyboardist? I think probably most would say Peter Bardens (duh!), but I absolutely love Ton Scherpenzeel's synths on the Rajaz album.

It's a toss up between Kit Watkins and Peter Bardens

Kit Watkins is my favorite!

Though I don't think he was the most technically skilled of Camel's keyboardists, I love the originality, sound, and technique of Pete Bardens' playing. Only a guy like him could write such great pieces of music on piano and synthesizer.

Oh yes, the keyboards on "Harbour" are almost inescapable from Mickey Simmonds. Plus his live work on "Never Let Go Live" is immensely satisfying as he interprets Bardens' parts in new ways.