By now we will all agree that one of the main agents that is responsible for the low profile kept by Juju music today is the fast one; played on it by Fuji music, assimilating all its unique tones, there by not sounding too far away from it.
Hitherto, the main difference between both genre of music, was their use of rhythm, tones and style, pitch and modulation.
Though both genre of music are known to praise sing their fans, but it was incidental that Fuji musicians are much comfortable with Islamic tones and recitations while a Juju act will marvel at the tones of hymns and Christian chorus. Not surprising that the champions of this industry divided themselves into Christians Juju and Muslims Fuji.
King Sunny Ade and Chief Ebenezer Obey to Juju music, and General Kollinton Ayinla and Chief Sikiru Ayinda Barrister to Fuji music.
There were fundamental differences between the production of both forms of music. Fuji music was percussion based, while Juju music sat on a lot of strings orchestra. In fact, it was almost impossible to be a Juju musician without a mastery knowledge of the guitar.
This write up is not intended to bore you with the history of Juju and Fuji music, but it is important to know the bit of genesis as it were.
The writer has had reasons to relate well with the contemporary players of both genre, and also opportunities have presented itself to work with the immediate past players.
And before one could blink an eye came the Adewale Ayuba, Obesere, Pasuma; yes Pasuma , Dele Taiwo, Dayo Kujores and their need for a survival tactics. Stealing from one another, introducing new slang and creating infusion of all kinds, experimenting  and sometimes crashing.  They also dabbled into employing intellectual producers, the likes of Laolu Akins and Femi Ojetunde.
Now we must not forget, that somewhere along the line some wonder kid called Wasiu Ayinde; “Igi jegede”, had successfully infused all the aesthetics of Juju music into his brand of Fuji music, employing the likes of Diya Ojo a famous C.A.C raised pianist. Even going on to play Christian rhythms and chorus.
Somewhere on the other end, as the world is fast becoming smaller culturally and the word  “global village” is now occupying the space of it true meaning, we are now compelled, and faced with the reality of American street influence. And Afro Hip Hop was born.
Weird! She called herself, yes weird Mc. Sola. Although a lot have come before her, Alex O, Alex Zito, Felix Liberty, Junior and Pretty, Tera Cota, Lijadu Sisters, even our dear Rev Chris Okotie to mention a few. But Sola took Lagos by storm with her hit track “Allen avenue”.
With lots and lots of such kind of music to follow with groups like Remedies, Plantation boys, Artquake, and lots more springing up. A new tone was born.
But, back to Pasuma.
There was this young one who was not afraid to attempt anyone’s pitch or depth. Climbing from octave to octave, bending and swaying from scales to scales.
Though his brand of music is Fuji, his name always come up amongst these “new” people; who are influenced by the new popular culture, the so called “hip hop boys”; entering the studio and producing duet with as many as he could come across, from Artquake to Tony Tetuila, Idris, Olu Maintain, to Fada Uturn, 2Face Idibia even Saidi Balogun.
In fact it can be said that “if you have not done a duet with Pasuma then you are not “tapping””.
Then since Pasuma has opened the door, other artists, again like in the past started experimenting with the new fusion. And the like of LkT and 9iec began to produce some new rhythm. And since this rhythm sounds like Pasumas Fuji and also possesses the smoothness of Hip hop, why not adapt it as a style in Hip hop?
And this gave birth to the likes of 9ice, Ajasa and Kabasa school beats.
And right before our own very eyes, the Reign of Fuji Music seem to be ending as this new found blend of Afro Hip hop seem just apt in the ears of all.
Today the likes of Wande Cole, Wizkid, Davido, Brymo and LKT have successfully invented a new pattern of singing, merely singing Pasumas Fuji over a strong Hip hop beat, using a sonorous voice with the aid of all readily available vocal effect aid softwares.
And that is the end of Solomon Grandy.
A new sound, a new tone, and a new market.
That’s just the way life is, everything happens for a reason.
Change is the only constant thing in life. But change for the better is what we desire. Better or not, the beats of the beats on the streets of LAGOS is constantly changing.