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During the same period, other highlife performers were reaching their peak.
These included Rocafil Jazz and Prince Nico Mbarga, whose "Sweet Mother" was a pan-African hit that sold more than 13 million copies, more than any other African single of any kind.
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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.
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.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".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.