Mbarga used English lyrics in a style that he dubbed panko, which incorporated "sophisticated rumba guitar-phrasing into the highlife idiom".
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.
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.
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.After a very long time — with hits such as "Orilonise," Fuji Disco/Iku Baba Obey," "Oke Agba," "Aye," and "Suuru" — he later changed the group's name to "Supreme Fuji Commanders" with a bang! Ayinde's rival was Ayinla Kollington, "Baba Alatika," known for fast tempo and dance-able brand of fuji, who also recorded hit albums like "ko bo simi lo'run mo e, in the 80s he released "ijo yoyo, Lakukulala and American megastar" to mention few of his successful albums.With all due respect Ayinla Kollington is a coherent social commentator.Rock N' roll, soul, and later funk, became very popular in Nigeria, and elements of these genres were added to jùjú by artists such as IK Dairo.Meanwhile, highlife had been slowly gaining in popularity among the Igbo people, and their unique style soon found a national audience.The late 1960s saw the appearance of the first fuji bands.