IN: Eddie James "Son" House, Jr. (March 21, 1902 - October 19, 1988) was an American delta blues singer and guitarist, noted for his highly emotional style of singing and slide guitar playing. After years of hostility to secular music, as a preacher and for a few years also as a church pastor, he turned to blues performance at the age of 25. He quickly developed a unique style by applying the rhythmic drive, vocal power and emotional intensity of his preaching to the newly learned idiom. In a short career interrupted by a spell in Parchman Farm penitentiary, he developed to the point that Charley Patton, the foremost blues artist of the Mississippi Delta region, invited him to share engagements and to accompany him to a 1930 recording session for Paramount Records.

In 1927, at the age of 25, House underwent a change of musical perspective as rapid and dramatic as a religious conversion. In a hamlet south of Clarksdale, he heard one of his drinking companions, either James McCoy or Willie Wilson (his recollections differed), playing bottleneck guitar, a style he had never heard before. He immediately changed his attitude about the blues, bought a guitar from a musician called Frank Hoskins, and within weeks was playing with Hoskins, McCoy and Wilson. Two songs he learned from McCoy would later be among his best known: "My Black Mama" and "Preachin' the Blues". Another source of inspiration was Rube Lacey, a much better known performer who had recorded for Columbia Records in 1927 (no titles were released) and for Paramount Records in 1928 (two titles were released). In an astonishingly short time, with only these four musicians as models, House developed to a professional standard a blues style based on his religious singing and simple bottleneck guitar style.  Around 1927 or 1928, he had been playing in a juke joint when a man went on a shooting spree, wounding House in the leg, and he allegedly shot the man dead. House received a 15-year sentence at the Mississippi State Penitentiary (Parchman Farm), of which he served two years between 1928 and 1929. He credited his re-examination and release to an appeal by his family, but also spoke of the intervention by the influential white planter for whom they worked. The date of the killing and the duration of his sentence are unclear; House gave different accounts to different interviewers, and searches by his biographer Daniel Beaumont found no details in the court records of Coahoma County or in the archive of the Mississippi Department of Corrections.  Upon his release in 1929 or early 1930, House was strongly advised to leave Clarksdale and stay away. He walked to Jonestown and caught a train to the small town of Lula, Mississippi, sixteen miles north of Clarksdale and eight miles from the blues hub of Helena, Arkansas. Coincidentally, the great star of Delta blues, Charley Patton, was also in virtual exile in Lula, having been expelled from his base on the Dockery Plantation. With his partner Willie Brown, Patton dominated the local market for professional blues performance. Patton watched House busking when he arrived penniless at Lula station, but did not approach him. He observed House's showmanship attracting a crowd to the cafe and bootleg whiskey business of a woman called Sara Knight. Patton invited House to be a regular musical partner with him and Brown. House formed a liaison with Knight, and both musicians profited from association with her bootlegging activities. The musical partnership is disputed by Patton's biographers Stephen Calt and Gayle Dean Wardlow. They consider that House's musicianship was too limited to play with Patton and Brown, who were also rumoured to be estranged at the time. They also cite one statement by House that he did not play for dances in Lula. Beaumont concluded that House became a friend of Patton's, traveling with him to gigs but playing separately.

What kind of blues was he known for?

OUT: House developed to a professional standard a blues style

input: Their 1988 follow-up album, He's the DJ, I'm the Rapper, made them multi-platinum stars. Mostly recorded in the United Kingdom, the album was rap music's first double-vinyl LP release; it was also issued as a single cassette and CD. "Parents Just Don't Understand", the lead-off single, made them MTV household names and also gained the honor of the first Grammy for a hip hop/rap song, which was met with mixed feelings. Nevertheless, the single was a success, launching the group into even more mainstream stardom. The video showed Prince's misadventures of trying to get around his parents' strict rules in a very comical way, very much like their first single "Girls Ain't Nothing but Trouble". It gained much airplay on TV channels such as MTV, giving the group much attention. The song was played in an episode of The Fresh Prince of Bel-Air ("Someday Your Prince Will Be In Effect (Part 1)"), and referenced in two other episodes of the same series ("The Fresh Prince Project" and "Not With My Pig, You Don't").  Another single, "Nightmare on My Street", showcased a fictional confrontation with movie villain Freddy Krueger. Coinciding with the release of the fourth Nightmare on Elm Street film (1988's The Dream Master); New Line Cinema was not pleased. A video allegedly shot for the single was buried, and a disclaimer was hastily included on pressings of the album indicating that the record was not officially affiliated with any of the Nightmare films. (Ironically, Jive Records ended up releasing the soundtrack to the next film in the series, The Dream Child.) After this success, in 1988 the lead singles from Rock the House, including "Girls Ain't Nothing but Trouble", were re-released and changed a bit from their original 1985 release, with the outro referencing singles "Nightmare on My Street" and "Parents Just Don't Understand":  Jeff: Man, first your parents just don't understand.Will: Word, I know, man.Jeff: Then you have these crazy nightmares.Will: Why me? Why me?  Jeff reveals on track 19 of Skillz's Infamous Quotes mixtape that New Line Cinema approached Will & Jeff for a movie role which they ended up turning down. The film was House Party. The last single from He's the DJ, I'm the Rapper was "Brand New Funk" sampled a James Brown song and quotes it. In the song, the Fresh Prince explains how Jeff has brought in a tape that contains a very cool song that he cannot help but rap over, and how fans react to it. The song was well received by many hip hop fans due to its funk sound, lyrical spins, and the fact that it showed off more of the skills of Jazzy Jeff. The video was shot in black and white, showed live performance clips from a concert and featured 2 Damn Hype Dancing.

Answer this question "did they get into charts"
output:
the lead-off single, made them MTV household names and also gained the honor of the first Grammy for a hip hop/rap song,