The 'B' Girls

In 1977, when the punk rock movement was still finding its voice in North America, The 'B' Girls emerged from Toronto's underground music scene to challenge both musical conventions and gender expectations. Born from a chance meeting at a Thin Lizzy concert after-party, the band would become a defining force in Canadian punk history.

Cynthia and Lucasta Ross met in that smoky venue, both frustrated by watching countless male musicians start bands despite their obvious lack of skill. With Cynthia translating her piano skills to bass guitar and Lucasta bringing her trained vocal abilities, they recruited Cynthia's sister Rhonda on drums and friends Renee Schilhab and Xenia Holiday on guitar. At just 20 years old, Cynthia was the band's eldest member, yet their youth became their strength.

The name came from The Diodes guitarist John Catto, referencing post-World War Two women who earned money from bartenders by encouraging men to buy them drinks. However, The 'B' Girls were determined to subvert such expectations. They established strict rules: no politics, no revealing clothing, and no exploitation of their sexuality. This principled stance, while admirable, may have cost them major record deals in an industry still dominated by male gatekeepers.

Musically, The 'B' Girls carved out a distinctive niche that set them apart from their punk contemporaries. Rather than embracing the typical loud, aggressive sound of the era, they channeled the spirit of 1960s girl groups like The Ronettes and The Crystals, creating what could be described as Mersey Beat with a punk edge. Their aesthetic matched this approach, featuring go-go boots, tight leggings, and matching sweaters that gave them a retro-futuristic appearance.

Their debut performance at Toronto's Club David's was legendary in its simplicity and audacity. With only six songs in their repertoire, they performed their entire set twice in different orders, and the audience didn't mind at all. This bold move perfectly captured the punk ethos of making do with what you have and making it work through sheer determination and attitude.

The band's technical limitations became their greatest asset. As music historian Sam Sutherland noted, their lack of conventional skill gave them a distinctly punk edge that, combined with Lucasta's professional vocal training, created "the perfect mix of punk ethos and pop ideal." This compelling combination earned them an immediate and substantial fanbase in Toronto's burgeoning punk scene.

The 'B' Girls quickly became fixtures alongside other pioneering Canadian punk acts like Teenage Head, The Curse, and The Viletones. Their reputation grew rapidly, leading to prestigious opening slots for international acts including The Clash, The Undertones, Iggy Pop, and Blondie. The transformation in critical reception was dramatic – Toronto Star critic Peter Goddard initially dismissed them as "too bad to set a bad example," only to declare them "the most improved band in rock and roll" six months later.

Recognition came in 1979 when Greg Shaw's Bomp! Records signed them to release the singles Fun At The Beach and B-Side, produced by Bob Segarini. These recordings found international success, being released in both the UK and Japan, where their unique sound resonated with audiences hungry for something different from the standard punk formula.

The band's relationship with New York's legendary CBGB began in 1980, with monthly bookings that established them as part of the club's regular rotation. When Cynthia became engaged to Dead Boys singer Stiv Bators, a partial relocation to New York seemed logical. However, the move split the band, with Lucasta and Rhonda choosing to remain in Toronto while Xenia took over vocals and former Demics drummer Marcy Saddy joined the rhythm section.

The New York chapter of The 'B' Girls saw them sleeping on New York Dolls member Sylvain Sylvain's floor before establishing themselves as regulars at both CBGB and Max's Kansas City. Their connection to the scene was deep – Blondie's Debbie Harry often operated their sound system and later produced some of their demos. They opened for an impressive array of acts including Elvis Costello, The Heartbreakers, The B-52's, The Cramps, and even poet Allen Ginsberg.

Despite interest from major labels including I.R.S. Records and Phil Spector, a significant recording contract remained elusive. The band contributed uncredited backing vocals to Blondie's hit The Tide Is High and Stiv Bators' solo album Disconnected, but their own recordings remained largely unreleased during their active years.

By 1982, the experiment had run its course, and The 'B' Girls disbanded upon returning to Toronto. The members pursued diverse paths: Lucasta formed Minutes From Downtown, achieving success with Wrapped In Velvet; Marcy Saddy joined Certain General before becoming a visual artist; Xenia Holiday became a yoga instructor; and Renee Schilhab built a career in journalism and documentary filmmaking before her death in 2020.

The band's legacy was properly preserved with the 1997 release Who Says Girls Can't Rock, featuring remastered recordings by Peter J. Moore. In 2017, Bad Not Evil collected all their demos from 1977 to 1982, providing a comprehensive look at their evolution. A brief reunion in 2017 saw Cynthia and Lucasta performing with new members, though this iteration was short-lived.

The 'B' Girls represented more than just another punk band – they were pioneers who proved that women could claim space in punk rock on their own terms. Their refusal to compromise their principles, combined with their distinctive musical approach, created a template that influenced countless female musicians who followed. In the broader context of punk history, they stand as proof that the movement's true power lay not in technical perfection, but in the courage to be authentically different.