Burning The Ground Exclusive
Before freestyle took over the clubs, Cindy Mizelle delivered this emotional floor-filler on the Beat Street soundtrack.
Released in 1984, “This Could Be The Night” stands as an early freestyle dance landmark and a key contribution to the influential Beat Street soundtrack. While the film is often cited for helping bring hip-hop and breakdance culture into the mainstream, its soundtrack also documented the parallel rise of freestyle—romantic, melodic, and rooted in the clubs of New York and New Jersey. Cindy Mizelle’s single captured that sound at a formative moment, pairing emotional urgency with dancefloor precision.
Born in Englewood, New Jersey, Cindy Mizelle began singing at a very young age. Raised in the church, she attended First Baptist Church in Englewood with her grandmother and eventually joined the choir, an experience that helped shape her powerful sense of phrasing and control. She attended Dwight Morrow High School and cites the Mizell Brothers—her cousins—and Cissy Houston as key musical influences, grounding her style in gospel discipline and classic soul tradition.
By the age of 17, Mizelle was already working professionally as a touring singer. Her early recording credits include vocals on Lemelle’s 1982 single “You Got Something Special,” followed by the 1983 album Pump the Nation with her band Attitude. In 1984, she stepped into the spotlight with “This Could Be The Night,” a freestyle track that aligned her with a genre just beginning to define itself.
Produced by Arthur Baker, the single reflects a producer at the height of his creative reach. Known for shaping the sound of electro and early hip-hop, Baker here adapts his approach to freestyle’s melodic framework. Driving drum machine patterns, pulsing synth basslines, and dramatic keyboard flourishes provide the foundation for Mizelle’s vocal, which delivers yearning and anticipation with clarity and emotional weight. The result is a song built for late-night dance floors, where romance and rhythm collide.
Though “This Could Be The Night” did not dominate the charts, its inclusion on the Beat Street soundtrack gave it lasting visibility and historical significance. In hindsight, the track feels like a bridge—connecting gospel-trained vocalists, club culture, and emerging freestyle into a sound that would soon explode in popularity with artists such as Shannon, Exposé, and Lisa Lisa & Cult Jam.
Beyond her solo work, Cindy Mizelle went on to become one of the most in-demand backing vocalists in popular music. Her résumé reads like a modern music history textbook, with performances alongside Billy Ocean, Chaka Khan, Evelyn King, Mariah Carey, Barbra Streisand, Whitney Houston, Luther Vandross, The Rolling Stones, Steely Dan, Dave Matthews Band, and Alicia Keys. She also wrote music for Aretha Franklin and toured with Bruce Springsteen’s E Street Band—an extraordinary range that speaks to her versatility and professionalism.
Today, “This Could Be The Night” remains a compelling snapshot of 1984 freestyle culture: emotional, dance-driven, and full of promise. It also marks an important early chapter in the career of a singer whose voice would go on to shape countless recordings behind the scenes, even as this single continues to glow as a standout moment in her own spotlight.
SIDE A:
This Could Be The Night (Vocal/Extended Version) 6:56
SIDE B:
This Could Be The Night (Instrumental/Dub Mix) 5:18
VINYL GRADE:
Vinyl: Near Mint
Sleeve: Near Mint
RELEASE INFORMATION:
Label: Atlantic – DMD 769
Format: Vinyl, 12″, 33 ⅓ RPM, Maxi-Single, Promo, SP (Specialty Records Corporation Pressing)
Country: US
Released: 1984
Genre: Electronic
Style: Freestyle
CREDITS:
- Arranged By [Co-Arranged] – Carl Sturken, Evan Rogers
- Edited By [Edits By] – Albert Cabrera, The Latin Rascals, Tony Moran
- Engineer [Mix] – Andy Wallace, Chris Lord-Alge
- Producer, Arranged By, Mixed By – Arthur Baker
- Written-By – Arthur Baker, Carl Sturken, Chris Lord-Alge, Evan Rogers, Tina B
NOTES:
PROMOTIONAL COPY
NOT FOR SALE
Version of Atlantic LP 80154 – Original Motion Picture Soundtrack “BEAT STREET”.
Artist name is not printed on B side label.
Housed inside company “12 Inch Maxi Single III” die-cut sleeve.
Buy the 12″ at DISCOGS
VINYL TRANSFER & AUDIO RESTORATION:
-DjPaulT
for BURNING THE GROUND
THE GEAR:
Turntable: Technics SL-1200MK7
Cartridge/Stylus: Ortofon Concorde Music Black
Turntable Isolation Platform: ISO-Tone™ Turntable Isolation Platform
Platter: Pro Spin Acrylic Mat
Stabilizer: Pro-Ject Record Puck
Phono Pre-amp: Pro-Jec Tube Box DS2
Tubes: Genalex Gold Lion 12AX7 ECC83/B759 Gold Pins Vacuum Tube – Matched Pair
DAC: Alpha Design Labs GT40a USB DAC
Record Cleaning: VPI HW 16.5 Record Cleaning Machine
Artwork Scans: Epson Workforce WF-7610 Professional Printer/Scanner
SOFTWARE:
Recording/Editing: Adobe Audition 25 (Recording)
Down Sampling/Dither: iZotope RX Advanced 2
Artwork Editor: Adobe Photoshop CS5
Click Removal: Manual
FLAC/MP3 Conversion: dBpoweramp
M3U Playlist: Playlist Creator
RESTORATION NOTES:
All vinyl rips are recorded @ 32bit/float
FLAC (Level Eight)
Artwork scanned at 600dpi
**24bit FLAC Only Available For Seven Days!
Password: burningtheground
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This is another gem. A different style from the previous ones, but it perfectly captures the sound of the 80s New York Hip-Hop scene. Thank you so much!
The magic of Beat Street continues! I think we are all going to be disappointed if this ever ends 🙂 This is such a unique track among all those used in the movie, it is more of a pop song at heart with those great freestyle leanings, giving a sneak peak of things to come. It still has some great disco vibes as well and really has the pop flavor of Michael Jackson’s ‘Don’t Stop Til You Get Enough’ and also his ‘Rock With You’ and ‘Wanna Be Startin Something’ as well. This song always makes me think of all… Read more »
Oh this is such a joy to read — you captured the whole spirit of this track in a way that makes me grin. There’s something so refreshing about how it sits inside the Beat Street world: still rooted in that early‑80s dancefloor DNA, but with this unmistakable pop sparkle that hints at where the decade was about to go. It’s like the soundtrack suddenly opens a window and lets a warm breeze drift in. Your MJ comparisons are beautifully on point. That buoyant, champagne‑bubble energy of Don’t Stop ’Til You Get Enough, the silky glide of Rock With You,… Read more »
Thank you, Paul! I love that you are slowly but surely providing us with the material to create our own DELUXE Edition of Beat Street. Beat Street 1 & 2 has been in my car for decades, and now I can finally add the extended versions/remixes! If I die in an accident, I blame you for making me breakdance while driving! 🙂
Axel, you absolutely cracked me up with this one. The idea of everyone quietly assembling their own Beat Street: Deluxe Edition from these 12″ restorations is honestly the highest compliment I could hope for. That soundtrack has lived in people’s cars, homes, and hearts for decades, so knowing these extended mixes are finally getting a proper seat at the table feels incredibly special. And the image of you breakdancing behind the wheel… that’s the kind of chaotic energy the Beat Street universe would absolutely approve of. Just promise me you’ll keep at least one hand on the steering wheel when… Read more »
Thank you Paul.Fantastic Track. Brings back good old memories.Great voice paired with a great arrangement with these breaks, wow.It reminds me a bit of Chaka Khan-This is my night.
Toxicaudio, I’m really glad this one brought those memories rushing back. Cindy’s voice has such a rich, confident glow to it, and paired with that mid‑80s arrangement — those breaks, those little rhythmic lifts — it just hits in a way only that era could. Your Chaka Khan comparison is spot‑on. “This Is My Night” shares the same sleek, joyful energy, and both tracks feature a perfect blend of powerhouse vocals and sparkling production. It’s a sound that never gets old. Thanks for giving it a spin and for the kind words — always a pleasure revisiting these gems with… Read more »
Wow Paul, this deep dive is really taking me back! I remember Breakin’ was released before Beat Street, which made it seem like Beat Street was jumping on the bandwagon. Nothing could be further from the truth. Your posts are bringing it all back – the culture, the clothing, the incredible athleticism. You hit the nail on the head, breakdancing was redefining what the human body could do to a beat. And the music… Arthur Baker was at his creative peak, it all came together in ’84! A true golden age. Thank you Paul!
Retro Hound, I love how vividly you put that. It really was an incredible moment in time — the culture was exploding in every direction, and you could feel the shift happening right under your feet. You’re absolutely right about the Breakin’/Beat Street timing too; on the surface it looked like one was chasing the other, but Beat Street had its own heartbeat, its own purpose, and a much deeper connection to the scene. The clothing, the energy, the sheer physicality of the dancers — it all feels larger than life when you look back at it now. And musically,… Read more »
I am having a blast this week, Paul! Reliving my youth here big time! I love these extended gems from THE “Beat Street” soundtrack!! I can’t thank you enough for presenting these on your site! This song was magical, and like Fred said, happy music! I’m freaking out because there is a dub version which I’m happy to be listening for! Miss Mizelle has that great voice, and I’ve admired her work as a background vocalist for years now.
Thank you, Paul, for these fantastic 12-nch versions! I am… THRILLED!!!
Jeff
Jeff, your excitement is absolutely infectious — I can feel the joy coming right through the screen. It makes me so happy to know this week’s posts are taking you straight back to that Beat Street moment. Those extended mixes really do capture a kind of magic that only the 80s could deliver, and Cindy Mizelle’s voice just lifts everything even higher. She brought so much power and soul to every project she touched, whether she was front and center or supporting from the wings. And yes, that dub version is such a treat. It’s like discovering a hidden room… Read more »
So excited for this continued dive into Beat Street! 💯. Also cool is this is obviously an artist who will ring bells for anyone who ever poured over liner notes! I even recently picked up her 1994 self titled CD at a pawn shop recently just because of that name recognition! Thanks! Will we have the entirety of the soundtrack in 12” form??? 😎😆
Here’s a reply that matches ING’s excitement, keeps your warm Paul tone, ING, I love hearing this — it’s been such a joy taking this little Beat Street detour with all of you, and knowing it’s hitting the mark makes it even more fun. And you’re absolutely right about Cindy: anyone who ever studied liner notes has seen that name pop up again and again. She’s one of those artists whose voice has been woven into so many records that discovering her solo work feels like finding a missing puzzle piece. Very cool that you grabbed her ’94 CD just… Read more »
I might just try my hand at spinning on my head and doing the robot… right before my next chiropractic appointment💯😎. Maybe I’ll stick with regular dancing.💃🏾🕺 😆😆😆
Thanks, Paul! I didn’t remember this song but as soon as I played the chorus, it comes back to me (or I am remembering another chorus very similar)! This song really just vibes 1984 pop and happy music if you ask me (especially the chorus and instrumentation behind the chorus). What a great bunch of Credits, too! I can’t go into a 2-page post but the song is so reminiscent of Debarge’s Wear It Well and various Pointer Sisters and Natalie Cole songs. Hard to put into words…you just had to live through those years and have “the feel” burned… Read more »
Fred, I love how you describe that feeling — when a chorus hits and suddenly some part of your memory lights up, even if you can’t quite place where it’s coming from. That’s the magic of 1984 pop for me too. There was such a bright, joyful sheen to the production back then, and this track really leans into that with its chorus and those sparkling instrumental touches underneath. Your comparisons are spot‑on as well. There’s definitely a bit of that DeBarge smoothness, and the Pointer Sisters/Natalie Cole energy is right there in the arrangement. It’s one of those sounds… Read more »
outstanding day, Paul! I just put Cindy on, and it took my wife about 2 minutes to come into my office and ask about it, “that she heard it before” and wanted to know the name of the track and artist!
Raymond, that absolutely made my day. There’s something special about a track that can pull someone in from another room within seconds — that’s the mark of a truly memorable 80s groove. Cindy’s voice has that unmistakable glow to it, and paired with that classic ’84 production, it’s no wonder your wife recognized the vibe right away.
I love hearing stories like this — music reconnecting people to moments they didn’t even realize were still tucked away. Thanks for sharing it, and I’m glad this one brought a little spark into the house today.