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Main article: Fuji music Apala, a traditional style from Ogun state, one of yoruba state in Nigeria, became very popular in the 1960s, led by performers like Haruna Ishola, Sefiu Ayan, Kasumu Adio, and Ayinla Omowura.

Ishola, who was one of Nigeria's most consistent hit makers between 1955 and his death in 1983, recorded apala songs, which alternated between slow and emotional, and swift and energetic.

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".

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.

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 African hemiola style, based on the asymmetric rhythm pattern is an important rhythmic technique throughout the continent.

Nigerian music also uses ostinato rhythms, in which a rhythmic pattern is repeated despite changes in metre.

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