Copperpenny - ST

Tracks

Side 1

		Track Name	Length
	1	I've Been Hurt Before - Ritchie's Party	07:25
	2	Stop	03:05
	3	It's a Happy Day	03:02
	4	Castles of Sand	05:05

Side 2

		Track Name	Length
	1	That Was The Game	02:22
	2	Just a Sweet Little Thing	02:15
	3	It's a Rainy Day	02:39
	4	Why Don't You Go For Me	02:52
	5	Stop The World	08:50

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Information/Write-up

Copperpenny emerged from Kitchener, Ontario in the mid-1960s as one of the region’s most ambitious and professionally minded rock groups, evolving from British-Invasion-inspired beginnings into a nationally charting act whose recordings bridged pop, hard rock, and R&B during a decade of rapid change in Canadian music. Formed in 1965 by teenage friends Rich Wamil and Kenny Hollis, the band first operated as The Penny Farthings, a name that reflected both the era’s Anglophile sensibility and the coffeehouse-club circuit that sustained early Ontario beat groups.

By the late 1960s, with a stabilized lineup and original material in hand, the group attracted interest from Columbia Records. At the label’s urging, they adopted the name Copperpenny, borrowed from a Paupers B-side title, and released three singles between 1968 and 1969. While promotion was limited, the pop-leaning “Nice Girl” broke through nationally, reaching the RPM singles chart and marking Copperpenny as more than a regional act. The Columbia sides hinted at a band still refining its identity, moving between polished pop songwriting and a tougher rock edge that would soon come to the fore.

That shift arrived with producer Jack Richardson, whose Nimbus 9 organization had just propelled The Guess Who to international success. Under Richardson’s guidance, Copperpenny signed with RCA Victor and recorded their self-titled debut album in Chicago. Issued in 1970, Copperpenny captured a group stretching in multiple directions at once: bright, radio-friendly singles sat alongside heavier guitar material and extended psychedelic passages. The single “Stop (Wait A Minute)” cracked the RPM Top 100 on the strength of Southern Ontario airplay, while the album’s closing track, the nearly nine-minute “Stop The World,” showcased the band’s willingness to push beyond conventional pop structures.

Touring steadily, Copperpenny became a familiar name on Ontario stages and university circuits, occasionally opening for major acts. One of the most talked-about dates came on November 4, 1969, when they supported Led Zeppelin at the Kitchener Memorial Auditorium—Zeppelin’s final Canadian appearance of the year. Despite the high-profile exposure, RCA distribution and modest U.S. spillover failed to translate into strong album sales, and internal pressures soon began to reshape the band.

By 1971–72, Copperpenny had undergone significant lineup changes, with Wamil and Hollis remaining at the core. Signing with Much Productions, they re-emerged on the Sweet Plum label and relocated recording sessions to PAC 3 Studios in Dearborn, Michigan under producer Harry Hinde. The resulting material marked a decisive stylistic turn. Emphasizing groove, harmony vocals, and a more R&B-oriented approach, the new Copperpenny connected decisively with Canadian radio. “You’re Still The One” became their first Top 40 hit, but it was the follow-up, “(Sittin’ On A) Poor Man’s Throne,” that cemented their place in Canadian rock history, peaking at number 14 nationally in 1973. Issued in a shortened single edit, the song’s full-length album version revealed a darker, more expansive performance that would later be covered by Bobby Bland and remain a classic-rock staple.

The success led to national television exposure, including an appearance on CBC’s Drop-In, and kept Copperpenny touring heavily through 1973 and early 1974. Subsequent singles from the Sitting On A Poor Man’s Throne album charted respectably but could not replicate the momentum of the title track. As industry expectations shifted and internal ambitions diverged, the Sweet Plum era quietly came to a close.

Wamil continued forward under the Rich Wamil & Copperpenny name with Capitol Records, assembling a studio-based lineup drawn from Toronto’s top session players. This incarnation leaned toward contemporary cover material, resulting in the 1975 album Fuse and a run of singles that charted modestly but lacked the cohesion of earlier releases. A final single in 1976 brought the Copperpenny name to an end.

In the years that followed, members pursued varied careers across music, production, education, and business, while occasional reunions reaffirmed the band’s local legacy. Though Copperpenny’s recorded output reflects the stylistic uncertainty faced by many Canadian bands navigating the late-1960s and early-1970s industry, their peak years produced one of the era’s most enduring national hits. More than five decades on, “Sitting On A Poor Man’s Throne” continues to receive airplay, standing as a reminder of a band that briefly aligned songwriting, performance, and timing to leave a lasting mark on Canadian rock history.
-Robert Williston

Musicians
Rich Wamil: lead and group vocals, organ, bass, piano, guitar, trumpet
Laverne McDonald: lead guitar, lead and group vocals
Kenny Hollis: lead and group vocals
Bert Hamer: drums, percussion, group vocals
Paul Reibling: bass, group vocals

Production
Arranged by Ben McPeek
Produced by Jack Richardson
Recording engineer: Brian Christian
Recording technician: Russ Vestuto
Mastered by Randy Kling
Recorded at RCA Mid-America Recording Center, Chicago, Illinois, USA

Liner Notes:
While there are many prophets predicting a shoo-in for those born under the sign of Aquarius, they are merely predicting and with just the stars to help. However, the Canadian recording industry is, in fact, coming into its own and this is not mere speculation; it’s based on fact – the fact that 1969 was the door opener and the bowing of 1970 saw more activity, recording-wise, than in any similar period to date. Although many Canadians had for years been making slight inroads into the international music business, ’69 was the big year when the fuse stopped sputtering and made rapid moves towards the explosive area, which could very well be 1970. The fuse was carried along by names such as David Clayton Thomas, The Guess Who, Motherlode and Steppenwolf (which has a nucleus of Canadians).

Now comes an opportunity to add another name to the growing list: Copperpenny. This group has enlisted the services of producer extraordinaire Jack Richardson, already batting 1000 with his productions.

Copperpenny is from Kitchener, Ontario, not far from the plum of the Canadian music industry, Toronto. Their story goes back two years and several record releases. They’ve gone through a period of struggling and development, and today emerge on this album as seasoned and polished record performers who also equal in person their waxed performance.

One large plus for the group is the fact that they do all their own material and are capable of covering a large range. Whether it is bubblegum or heavy rock, they adapt with ease. Their material is imaginative and will cause the listener to reflect back upon many very acceptable sounds.

This album showcases the highly talented five man group in a package augmented with strings and horns. At times you feel you are listening to a rock classic, while on other cuts you sense the neighbourhood group. It’s also possible to detect an established hit – which will, no doubt, eventually be the case.

With Copperpenny, on disc or in person, be prepared to hear anything. Their bag is not restricted; rather, it is very large and their talents are much larger. They have already become known nationally and they stand on the threshold of breaking into the international market. With this album their musical abilities will be proven.

Meet and listen to the sound of Copperpenny:

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