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.
His work became a formative influence on the developing fuji style.
Nigerian music also uses ostinato rhythms, in which a rhythmic pattern is repeated despite changes in metre.
Nigeria has some of the most advanced recording studio technology in Africa, and provides robust commercial opportunities for music performers.
Traditional stars included the Hausa Dan Maraya, who was so well known that he was brought to the battlefield during the 1967 Nigerian Civil War to lift the morale of the federal troops. During the 1950s, recording technology grew more advanced, and the gangan talking drum, electric guitar and accordion were incorporated into jùjú.
Much of this innovation was the work of IK Dairo & the Morning Star Orchestra (later IK Dairo & the Blue Spots), which formed in 1957.
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.