use of the term 'take' was meant to denote 'to be seized by, or have an attack of something' as described in the lyrics "Woman take the blues, she gonna buy her paper an' read / Man take them blues he gonna catch a train an' leave". Whereas in "No No Blues", Baker sang "I'm long and tall, like a cannon ball / Take a long-tall man, make a kid gal, make a kid gal squall". 'Long and tall' was often used in blues songs, but is now redundant in everyday speech. In the same song, Baker also used the lines "Take a mighty crooked woman, treat a good man wrong / Take a mighty mean man, take another man, take another man's whore". 'Mean' as used here indicated a man of disreputable or amoral intent. Other musicians of that period such as Blind Lemon Jefferson, Freddie Spruell and Charley Patton all used the word in their song lyrics with equal meaning. Commenting on one of Baker's song titles, "Bad Luck Moan", one historian noted that the term 'moan' was common in both lyrics and song titles on early blues recordings, but that usage generally dried up around 1930. It was used back then to describe a lover's dirge, as in Son House's description of his friend Charley Patton's track, "Mean Black Moan". This accords to the dictionary variant of the word 'moan' meaning a lament in poetical terms. In recording "Ain't It A Good Thing?", Baker following a short spoken introduction of "Yes! I'm always have more than one"; then boasted as he sang "When I was young, in my prime / I kept a gang of women all the time". In the mid-1960s, some unreliable sightings placed Baker in Miami, Florida, but it is not certain if this was the same individual who recorded for Gennett. A decade later, Baker's work was assessed in the publication Formulaic Lines and Stanzas in the Country Blues. Pseudonyms and confusion of identity Some of the Gennett recordings were later reissued on subsidiary labels, such as Champion and Supertone. These often employed a pseudonym for the original artist, with the express desire of avoiding paying the musician's royalties. Thus Baker's sides were also later released as by 'Steamboat Bill and His Guitar' (Champion label) and 'Willie Jones and His Guitar' (Supertone label). The one oddity is that in 1934, Varsity Records issued