What a great find. While this is a short book (94 pages), it is full of interesting facts, information, events and stories, previously untold, about the early days of the Beatles in the U.S.; how their recording contracts with Capitol came about; and the relationship that developed over the period of the group's great success as recording artists. This is from an insider, Charles Tillinghast, at the time an attorney with Capitol Records, who was actually there and involved in all the negotiations and dealings and other goings on. The author's descriptions of the various characters involved - business executives, lawyers, agents, managers, etc. - was fascinating to me, and worth the price of the book alone. Historical information is provided about Capitol Records and the Beatles themselves, which is helpful in placing it all in context.
Tillinghast also does a great job of explaining the workings and financial aspects of the record business that is easily understood.

The entire story is told with wit and humor, and is a fun read. Should be of interest to any fan or student of the Beatles, or of the record business itself. I highly recommend this book.

I found How Capitol Got the Beatles and Then What Happened an excellent and creative historical account of the economics, legal and business-side of a phenomena I lived through. I was totally unaware of what was going on behind the scenes. This book recounts the inside story convincingly, so real as to make me wonder whether Tillinghast might ever have heard from persons mentioned raising possible objection to aspects of his account.

The author's wit and style made entertaining even aspects of the story that might otherwise have been presented as just dry history.

Thank you, Mr. Tillinghast!

Charles Tillinghast's book will be of interest to both Beatles fans and, perhaps moreso, to those who have some degree of fascination with the interworkings of the record industry. Tillinghast was an attorney with Capitol Records from 1965 until 1980, much of that time as head of the Law Department. The book is a very readable chronicle of the relationship between the Beatles and Capitol Records, written by a witness to that relationship. There are 16 short chapters and an Appendix that lists all the Beatles record albums released by Capitol Records. A glossary of names would have been helpful -- maybe in a 2nd edition? -- in keeping the "cast of characters" in mind. Some of them are "characters" indeed. By the way, it appears evident that the record industry is a "man's world" although the roles of Yoko Ono and Linda Eastman McCartney are not insignificent.
A central theme of the book is money: recording contracts and copyrights, record promotions, stock options. Conflict is another important component: inhouse conflict at Capitol Records, and inhouse conflict among the "fabulous four," especially John Lennon and Paul McCartney.
Tillinghast's writing style is clear as a bell and interspersed with an engaging "lightness" and frequent humor.
Highly recommended!

Tillinghast uses his sharp wit and dry humor to masterfully decode events and explain relationships with the finely honed intellect of an intelligent and knowledgeable insider who calls it just as he sees it. Reads like a great detective story.

Charles Tillinghast's How Capitol Got the Beatles and Then What Happened is a delightful insider's account of corporate manueverings under the guidance of lawyers they hire exempified by the goings on at Capitol Records when they had the Beatles in tow, or vice versa. The story is told smoothly, quickly, and wittily. Anyone who remembers the Beatles and their heyday would be interested in this book. Others who would like to have a look at a more human view of corporation lawyers will find this book illuminating and fascinating.

We learn in "How Capitol Got the Beatles" that Electric & Musical Industries, Ltd. (later "EMI"), owned Capitol in 1962, a relationship giving Capitol first shot at the Beatles. After hearing their dubs, Capitol's A&R chief didn't think the sound better than many other groups--rejected. Maybe it was the song--"Please Love Me, Do,"--hardly a smash in the UK, nor in the US, released by VeeJay Records. In the fall of '62 EMI released the group's "I Wanna Hold Your Hand," an original work by Lenon and McCartney. It took off. Its hit status was so impressive the group's manager, Brian Epstein, was able to arrange the artists' appearance on at least 2 performances of the "Ed Sullivan" show--truly a coup--as part of an American tour.
In Hollywood, Capitol's (circular) halls must have been alive with comings and goings of execs in shock; "what happened?" and "What can we do?" Well, somebody did something--the mystery is who, and what. Capitol released its edition of the smash UK single, and it was a like smash in the US, the group now on the Capitol label.
1967 saw the end of the group's contract with EMI, as well as the sudden August death of Epstein, the Beatles' genius manager. At the top of their career, the artists were open to making new contracts with Capitol as well as EMI. Negotiations with Alan Klein, Epstein's successor, were tough but successful in keeping Capitol and the group together.
Extraneous record industry developments sharply impacted the company's relations with the artists, described in this book available from Amazon for $10.95.