Enchantment

Enchantment, a soul ensemble known for its smooth and melodious sound, came together in 1967 at Pershing High School in Detroit. Its members—Emanuel "E.J." Johnson, Joe Thomas, Dave Banks, Ed "Mickey" Clanton, and Bobby Green—secured an initial recording deal after claiming first place in a 1969 talent contest run by Detroit radio outlet WCHB. The following year the quintet aligned with Dick Scott’s Artists International, an agency focused on developing emerging talent. While associated with the organization, the singers refined their skills through emphasis on stage presence and choreography and by taking part in locally staged musical productions.

The group first encountered future producer Michael Stokes in 1973 during a performance at the Stage One nightclub. That connection led to their contribution of music for the film Deliver Us from Evil. The resulting single “Call on Me,” cut with Stokes, Paul Riser, and Jimmy Roach, appeared on Polydor in 1975; though widely praised, the uptempo track received limited promotion and failed to break through commercially.

Enchantment next moved to the Roadshow imprint for its self-titled debut album. The first single from Enchantment (1977) to register on the R&B chart was “Come On and Ride.” Later that year the group, noted for its charismatic stagecraft, earned wider recognition with the follow-up “Gloria.” Penned and arranged by lead singer Johnson, the song climbed to number five on the R&B listing. Its successor, “Sunshine,” advanced still further, peaking at number three. Building on that success, the 1978 album Once Upon a Dream yielded the ballad “It’s You That I Need,” which topped the R&B chart and held the position for four weeks.

Following the third and last Roadshow release, Journey to the Land Of...Enchantment (1979), the ensemble’s mainstream visibility declined sharply. Subsequent efforts—Soft Lights, Sweet Music (RCA, 1980), Enchanted Lady (Columbia, 1982), and Utopia (Columbia, 1983)—nonetheless contained several durable modern R&B tracks, among them the overlooked “I Can’t Be the One” and “Here’s Your Chance.” Although no further recordings appeared, Johnson continued to front the act in live performances well into the 2010s.