Review From the Global Village Idiot: Once one of the major forces in Gambia's great Super Eagles, Njie decided to rework some of the old material over two volumes of Faateleku. The best tracks have been condensed onto this disc, and it's a reminder of a classic West African (although strongly Western-influenced) sound. He's still got a killer voice, and with the rise of African music, he no longer needs to dilute his sound to find an Occidental audience. Is it great? Not completely, it could have been rawer, but as a reminder of how things were, and how they can be tastefully updated, it's excellent.

ACKNOWLEDGEMENT I thank Allah The Almighty (S.W.T.) for giving me the chance to make people happy. I also thank my late father Modou Njie Beachmaster (who left us very early). My dear mother Adji Sainabou Jobarteh for taking care of us - since and still. To my brothers and sisters, Dawooda, Mammy, Yandeh, Shiek Omar, Pa Njie Shorty, Lamin, Sally, Sira, Aunty Mary and Yazid Bensouda. To all my relatives, friends, fans, well-wishers, supporters and especially to those who helped me in my musical career. To my mother particularly, who initially never wanted me to become a musician, but later on gave her blessing. And to these fine people who in so many ways helped me down the line, B.B. Njie, Daddy Njie, Solomon Baba Preirra, Ola Coker (Jazz), John Thomas (Teacher), Alh. Babou Sowe, Jimmy Coron, Modou Cham, Sogi Sock, Badou Jobe, Paps Touray, Pa Lamin Drammeh, Laba Sosseh (El Maestro), Joseph Marcellin Kwa, Malick Secka, Sammy Ndame, Arnadou Bah, Femi Peters, Kaba (Mi) Jallow, Mousthafa Ndiaye (Gomis), Annie Dixon-Belle, Adji Awa Saho-Savage. Adji Bada Toure, to my management team George and Obiozor. To Aunty Haddy Njie and Ousainou Jobe of Faateleku, my friends and family in the U.S.A. especially to Katirn-Rohey for his extraordinary help. To master Habib Touray, my look-alike. To the Coker family in Hartford, Tom Ola, Bev, Lemu and Nerissa, Pastor Joseph E. Jackson, Brothers Vassell and Tyrell, Sisters Rhone, Nelly, Tyrell and Elsa Smith and the rest of the congregation. To Elie Nachif (Ello) of Yellow Gate, I say as usual, a big "Thank You!" To Elie's dad, family, friends and staff, I say it's been wonderful, "Let's do it again."
Last but not the least, to my dear children, ShiekBoy, Yazid, Pa Modou, Yandeh, Amie and Absa, I say "Thank you all for your Love, Support and Respect." Oussou NJIE Senor Hartford, June 27, 2000


Bio

Born in May 27, 1945 in the city of Banjul (formerly Bathurst), The Gambia, a small tourist nation in West Africa, Oussou began a childhood journey filled with thrilling experiences, fantasies and achievements. Recalling the heyday, when Oussou and his peer groups cruised around his 'Halfdie' neighborhood, sending signals that their love for music was genuine, an elder brother (maag) of the music maestro, Benedict Biram Njie, a.k.a BB, proudly recalled Oussou's penchant for entertainment. "Oussou's peers and he would spend the whole day at the family compound, 27 Buckle Street, listening to musical ideas and compositions. His compound, thus, became a base where groups assembled to rehearse, plan and organize some form of entertainment activities." During Oussou's school days, people like Pap Touray, Modou Cham, Badou Jobe and a host of others meet regularly at Foyer Dancehall (Hill Street) to exchange musical ideas, make compositions and stage public dances. By then, they were all living in Buckle Street and it's environs. At school, Oussou excelled and was always admired, encouraged and supported by his teachers. Unfortunately for the young Oussou, his father had passed on when he was 9 years old, leaving all the burden of his upbringing to his mother. His mother did not at first support his deep interest in music, but finally gave her blessing when she realized how talented and determined he was in music.
During their last days at school, Oussou and his compatriots became more deeply involved with music, rehearsing at Modou Cham's residence at Hill/Buckle Street. A few months before sitting for his final secondary school examination in 1964, Oussou abandoned school and joined his colleagues in the newly formed band, Eagles - owned by Malick Secka, on a tour of Sierra Leone. Membership in the Eagles consisted of the cream of Gambian talents; Modou Cham, Tom Ola Coker Jazz, Pap Touray, Badou Jobe, Sammy Ndame, Marcelin Joseph Kwah. Oussou was then 19 years old and the youngest member of the Eagles. They were the first band to travel outside The Gambia in those days. On their return to Banjul during the Christmas season of that year, they became very popular, and performed in all the dancehalls in Banjul; Mammy Louisett Bar, Foyer Hall in Hill Street, UAC and Banjul Tennis Lawns in Orange Street and Clifton Road respectively. As with all bands, some members left the group and others were motivated. These developments led to the decision to become independent. In that era, independence was not easy for musicians. Only established promoters owned musical equipment and the resources to sponsor groups. The decision for independence was a huge problem for the Eagles, but in 1968, Badou Jobe, Modou Cham, Pap Touray and young Oussou, decided to save their allowances at every engagement to purchase instruments. Several prominent Gambian businessmen and politicians were approached to assist the band to acquire instruments but to no avail, until a diamond dealer, Solo Darboe, invested in the band. This led to the formation of the Super Eagles. Super Eagles became very popular amongst Gambians and in neighboring Senegal, as they toured all the nooks and crannies of the Senegambian region. Their shows were always sell-outs! Between 1968 and 1971, the Super Eagles made waves in Republics of Ghana, Togo, other parts of West Africa, as well as the United Kingdom. Oussou's fame soared as the band performed. He was, and is loved, by people everywhere, for his sonorous voice, warmth, and bon homie!
Dated: July 2000
Story narration by BB Njie
Written by Obiozor Williams EC
For: Faateleku Management, Banjul, The Gambia.