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Although popular styles such as highlife and jùjú were at the top of the Nigerian charts in the '60s, traditional music remained widespread. Dairo Following World War II, Tunde Nightingale's s'o wa mbe style made him one of the first jùjú stars, and he introduced more Westernised pop influences to the genre.

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Fuji was a synthesis of apala with the "ornamented, free-rhythmic" vocals of ajisari devotional musicians and was accompanied by the sakara, a tambourine-drum, and Hawaiian guitar.

Among the genre's earliest stars were Haruna Ishola and Ayinla Omowura; Ishola released numerous hits from the late '50s to the early '80s, becoming one of the country's most famous performers.

Mbarga used English lyrics in a style that he dubbed panko, which incorporated "sophisticated rumba guitar-phrasing into the highlife idiom".

After the civil war in the 1960s, Igbo musicians were forced out of Lagos and returned to their homeland.

After a very long time — with hits such as "Orilonise," Fuji Disco/Iku Baba Obey," "Oke Agba," "Aye," and "Suuru" — he later changed the group's name to "Supreme Fuji Commanders" with a bang! Ayinde's rival was Ayinla Kollington, "Baba Alatika," known for fast tempo and dance-able brand of fuji, who also recorded hit albums like "ko bo simi lo'run mo e, in the 80s he released "ijo yoyo, Lakukulala and American megastar" to mention few of his successful albums.

With all due respect Ayinla Kollington is a coherent social commentator.

Nigeria has some of the most advanced recording studio technology in Africa, and provides robust commercial opportunities for music performers.

Ronnie Graham, an historian who specialises in West Africa, has attributed the success of the Nigerian music industry to the country's culture—its "thirst for aesthetic and material success and a voracious appetite for life, love and music, [and] a huge domestic market, big enough to sustain artists who sing in regional languages and experiment with indigenous styles".

However, political corruption and rampant music piracy in Nigeria has hampered the industry's growth.

Following World War II, Nigerian music started to take on new instruments and techniques, including electric instruments imported from the United States and Europe.

Much of this innovation was the work of IK Dairo & the Morning Star Orchestra (later IK Dairo & the Blue Spots), which formed in 1957.

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