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Much of this innovation was the work of IK Dairo & the Morning Star Orchestra (later IK Dairo & the Blue Spots), which formed in 1957.
these performers brought jùjú from the rural poor to the urban cities of Nigeria and beyond. Dairo became perhaps the biggest star of African music by the '60s, recording numerous hit songs that spread his fame to as far away as Japan. Mensah, easily the most popular highlife performer of the 1950s, toured Igbo-land frequently, drawing huge crowds of devoted fans.
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.
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.
At the same time, apala's Haruna Ishola was becoming one of the country's biggest stars.
Following World War II, Nigerian music started to take on new instruments and techniques, including electric instruments imported from the United States and Europe.
Fuji grew steadily more popular between the 1960s and '70s, becoming closely associated with Islam in the process.
Fuji has been described as jùjú without guitars; ironically, Ebenezer Obey once described jùjú as mambo with guitars.
The late 1960s saw the appearance of the first fuji bands.
Fuji was named after Mount Fuji in Japan, purely for the sound of the word, according to Alhaji Sikiru Ayinde Barrister.
Alhaji Sikiru Ayinde Barrister started his fuji career in the early 1970s with the Golden Fuji Group," although he had sung Muslim songs since he was 10 years old.