His lyrics were a mixture of improvised praise and passages from the Quran, as well as traditional proverbs.

His work became a formative influence on the developing fuji style.

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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.

He first changed his group's name to "Fuji Londoners" when he came back from a trip to London, England.

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.

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.

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.