When the beloved little vinyl record with a big hole in the middle (known as the 45) was the primary music medium, it was sometimes customary to see song titles that contained the name of a celebrity.

Joltin' Joe DiMaggio (1949) by Les Brown or Marilyn Monroe Mambo (1954) by Perez Prado serve as examples. But even more curious than that, on rare occasions, movie soundtrack composers would specially dedicate a given composition, not to the character in a movie, but rather to the actor who played the role.

For instance, Tuesday's Theme (1962) by Johnny Williams, was named for the actress Tuesday Weld. Williams had been assigned to write the score for a movie called Bachelor Flat (1962). Originally, this specific selection was titled Libby's Theme, the character played by Ms. Weld in the picture. When Mr. Williams re-recorded the theme for single release, he decided to call it Tuesday's Theme, in homage to the actress.

I remember buying this record way back when, not for Tuesday's Theme but for Montreal, the A-side of the disc. At the time, Canadian Top 40 radio was giving this title quite a few spins. Perhaps the subject matter had something to do with it, as no significant sale advancements were made in the U.S.

Although not a Johnny Williams composition, Montreal is evocative, transcendent music that's far removed in style and context from his later, robust works that ended up placing him on a grand, international scale.

Tuesday's Theme is a gem and could best be described as a drawlingly melodious pop instrumental.

There was a time when I didn't realize that Johnny Williams and John Williams, were one and the same artist.

Most moviegoers will know the name John Williams, a creator of phenomenal film music. However, I wonder how many of them know that before his reputation was greatly cemented by more contemporary, landmark accomplishments for such flicks as Jaws (1975), Star Wars (1977), Raiders Of The Lost Ark (1981), Schindler's List (1993) and right up to the relatively recent music he made for the Harry Potter stories, John Williams had already accumulated an astounding amount of work as a musician, film composer, conductor and arranger.

His first record involvement occurred in 1956. As for the movies, he contributed to the soundtrack of such films as Sweet Smell Of Success (1957) and God's Little Acre (1958), variously credited as John T. Williams and John Towner Williams, before settling on Johnny Williams. In 1967, after conducting chores for the soundtrack of Valley Of The Dolls were complete, he became consistently known as John Williams.

It is interesting to note that Mr. Williams was in on the sessions (led by Henry Mancini) that produced the benchmark, modern jazz-tinged music from the hit TV series, Peter Gunn (1958-1961).

In 1960, Johnny Williams himself created the music for a detective show called Checkmate. Evidently, his Peter Gunn influence and experience was put to good use, with an exciting and assaulting theme, as heard during the opening sequence for Checkmate.

Blues For Brando, from The Wild One (1953), is another sampling of soundtrack music named after the actor, not the character.

The music definitely stands out to this day as top, vintage jazz, the kind that is no longer being duplicated.

Originally, Brando wanted jazz legend Shorty Rogers to come up with the score for The Wild One. The studio hired Leith Stevens instead. Undeterred, Rogers went ahead and recorded his own selected interpretations of Stevens's work.

All of this music from The Wild One can be had on a Bear Family CD, Jazz Themes From The Wild One (2001).