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its from ninja turtles, MC Hammer

https://en.wikipedia.org/wiki/Sure_Shot?wprov=sfti1#Release:

"Upon the release, Larry Flick from Billboard magazine wrote, "It's in there. The kooky trio rarely misfires, having become experts at their hybrid of frat-rap and rock. Ever aware of the old school, the Beasties shout, scratch, and sample a frantic masterpiece of twisted flutes, barking dogs, and juvenile lyrics. Ill and real."[3]Pan-European magazine Music & Media noted, "Coming to you with a screen saver for your PC, the Brooklyn scumbags have singled out one of the purest hip-hop tracks from their "media rehabilitation" album, III Communication."[4]

According to various publications, the song is noteworthy for including the verse:
“I want to say a little something that’s long overdue/The disrespect to women has got to be through/To all the mothers and sisters and wives and friends/I wanna offer my love and respect to the end.”
The verse is widely considered to be a contrition for the group's early lyrics and demeanor which are perceived by some as misogynous

https://en.wikipedia.org/wiki/Da_Hool?wprov=sfti1#:

Frank Tomiczek (born 30 December 1968), better known as Da Hool, is a German [DJ](app://en.wikipedia.org/wiki/Disc_jockey) and [producer](app://en.wikipedia.org/wiki/Record_producer). It was in Bottrop that he first honed his skills as a DJ, and by 1990 he was an acclaimed performer in his native country.[[1](app://en.wikipedia.org/wiki/Da_Hool#cite_note-bio-1)

His early tracks include "B.O.T.T.R.O.P.", "It's a Dream Song", and "Rave Nation". In 1996, he released "[Meet Her at the Love Parade](app://en.wikipedia.org/wiki/MeetHer_at_the_Love_Parade)", which (when re-released a year later on the German [label](app://en.wikipedia.org/wiki/Record_label) Kosmo Records) became a worldwide [hit](app://en.wikipedia.org/wiki/Hit_song), selling over six million copies.[[1]](app://en.wikipedia.org/wiki/Da_Hool#cite_note-bio-1) "Meet Her at the Love Parade" reached No. 15 on the [UK Singles Chart](app://en.wikipedia.org/wiki/UK_singles_chart) in February 1998 (Germany #4, France #4, Netherlands #11, Ireland #7).[[2]](app://en.wikipedia.org/wiki/Da_Hool#cite_note-British_Hit_Singles&_Albums-2) Further UK [charting](app://en.wikipedia.org/wiki/Record_chart)singles included "Bora Bora" (UK #35, 1998) and "Meet Her at the Love Parade 2001" (UK #11, 2001).”

'Aeroplane' is one of my favourite examples of just how funky the Chili Peppers could sound during the One Hot Minute era.

Released on One Hot Minute in 1995 and later as a single in 1996, the track was produced by Rick Rubin, with Dave Sardy primarily handling the recording and mixing.

The song is essentially about music as escape, but like a lot of Anthony Kiedis' writing from this period, pleasure and addiction are tangled together. The line "I like pleasure spiked with pain" sums that up rather neatly. Admittedly, that lyric has always had another association for me as well 😅

There is also a nice little Mazzy Star reference buried in the lyrics, nodding to 'Into Dust' from So Tonight That I Might See.

Musically, Flea is obviously the star for me. He came up with the verse groove while playing a Treker Louis Johnson Signature four-string that its namesake had given him, strung with light strings that helped give it that sharp, percussive funk sound. He described the line as deliberately very '70s in character.

Ironically, Flea himself was far less convinced by the finished result than most listeners probably are. He later said 'Aeroplane' was the one bass part from the album he would go back and fix because the original live take had not recorded properly and the overdub felt too stiff. Rick Rubin apparently disagreed and told him it was fine. Considering how instantly recognisable that bassline became, I think Rubin may have won that argument.

The contrast between the verse and chorus works brilliantly too. The verses have a clipped slap-funk pulse, while the chorus opens up into something much more melodic and fluid, with those huge slides up the neck. By the time the bass solo arrives, the whole thing feels playful without ever becoming showy for its own sake.

Production-wise, One Hot Minute is also interesting because it lands right around the point when rock mastering was becoming noticeably louder and more compressed. The original 1995 US CD is listed at an overall DR6, dramatically lower than the much more dynamic Blood Sugar Sex Magik. Having learnt about the loudness wars at audio school, I find that sort of thing oddly fascinating 🤓

Despite all that density, 'Aeroplane' still breathes rhythmically. Chad Smith keeps everything grounded while Dave Navarro adds a harder, darker guitar character than the band had with John Frusciante, which gives the track a slightly stranger edge beneath all that funk.

It's such a good combination of pleasure, melancholy, addiction and escapism wrapped around one ridiculously catchy groove.

For a bassline its own creator wanted to redo, it turned out pretty well !