LADYSMITH INSPIRES IN L.A. DEBUT

Paul Simon has taken a lot of heat for the politics surrounding his “Graceland” LP, but no one has faulted him for introducing South African a cappella group Ladysmith Black Mambazo to a wider audience. In its L.A. headlining debut on Friday at the sold-out Wiltern Theatre, the 10-man group proved that great music transcends politics; the simple wisdom of these songs and the joy with which they are performed surely must be a tonic for the ills that plague this warring planet.

Ladysmith looks to Zulu customs and folk tales for raw material, which it transforms into hymns, laments of unrequited love and shaggy-dog stories. Its approach to harmony, melody and rhythm might strike the American ear as strange on first hearing. However, it doesn’t take long to fall under the spell of this haunting music.

Seven of the 10 sing bass, a balance of pitch that imbues the music with resonance and warmth. The witty vocal flourishes are underscored by Ladysmith’s visual element: Illustrating lyrics with their hands, syncing up in a hopping/skipping chorus line, they could trounce the Temptations in a choreographic duel.

It’s hard to think of a better illustration of the difference between show business and art. These men aren’t angling for a limo--they sing for the sheer pleasure of it, and hearing their lovely music leaves you feeling a bit better about the human race.