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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.
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.The result was that highlife ceased to be a major part of mainstream Nigerian music, and was thought of as being something purely associated with the Igbos of the east.Highlife's popularity slowly dwindled among the Igbos, supplanted by jùjú and fuji.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.However, a few performers kept the style alive, such as Yoruba singer and trumpeter Victor Olaiya (the only Nigerian to ever earn a platinum record), Stephen Osita Osadebe, Sonny Okosun, Victor Uwaifo, and Orlando "Dr.Ganja" Owoh, whose distinctive toye style fused jùjú and highlife.At the same time, apala's Haruna Ishola was becoming one of the country's biggest stars.In the early to mid 1970s, three of the biggest names in Nigerian music history were at their peak: Fela Kuti, Ebenezer Obey and King Sunny Ade, while the end of that decade saw the start of Yo-pop and Nigerian reggae.Nigeria has some of the most advanced recording studio technology in Africa, and provides robust commercial opportunities for music performers.