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“LYNNWOOD is one of the most technically proficient, creative
DJs of our time.” ~Sirius XM Satellite Radio host, SWEDISH EGIL
DJ LYNNWOOD thrives in the cutthroat race known as the entertainment industry,
fueled by a fixation on music that has translated into a successful career
as a touring DJ, remixer, producer, radio talent and artist.
“My roots in this business stem from an A.D.D.-like driving, obsessive, maniacal
passion,” says LYNNWOOD.
Though electronic dance music is his self-professed muse, DJ LYNNWOOD was weaned
on rock music and has a near encyclopedic knowledge of virtually every genre
of music. He earned his chops on the airwaves and remains a fixture in major
market radio.
LYNNWOOD draws from a dangerous palette and has an astute business
mind. It’s an in-demand amalgam that has earned him cult status among an eclectic
array of artists including PAUL OAKENFOLD, ALANIS
MORISSETTE and theSILVERSUN PICKUPS.
“Wherever LYNNWOOD plays, he’s going to bang it.” ~Chicago
house music legend, BAD BOY BILL
Behind the decks, DJ LYNNWOOD winds crowds from Toronto to
Taipei into a fever-pitch, keeping himself busy performing over 150 gigs-per-year.
He was hailed by the UK’s MixMag as being, “The first west coast house DJ to
win the affection of Chicago’s finest,” ironically illustrating how LYNNWOOD’S
reputation has transcended such categorizations.
Said LYNNWOOD, “I want you to feel the music, bob your head,
dance to it. If it turns you on, pumps you up, makes you happy, I did my job.
If you talk about it tomorrow, I rocked the house.”
THE EARLY YEARS
This is an art form; don’t try to tell LYNNWOOD otherwise.
He has excelled in spite of – or, because of – being self-taught. LYNNWOOD
began his broadcast career at the University of Redlands on 8-watt dwarf KUOR,
the college radio station. Captivated, LYNNWOOD immersed himself in the business
of radio and was soon working as on-air personality, mixer, program director,
promotions director and account executive. KUOR was the first station to broadcast
a live mixshow in California, even amongst the commercial radio stations, and
it rose to 1 in its market.
“Back then, the radio station was block-formatted, only playing
underground music three or four hours a day yet we still managed to smack commercial
stations,” said LYNNWOOD.
While still at KUOR, LYNNWOOD was signed to KOLA as music director,
night jock and mixer. He picked up KPSI Radio in Palm Springs shortly thereafter,
doing two separate weekly mixshows. It was barely a challenge for LYNNWOOD,
who, just a year earlier at only 18 years of age opened “Club Z” in Palm Springs
while spinning at 33,000-square-foot, 6,000-person capacity Club Metro in Riverside
and headlining every major warehouse party in the market.
ENTERING CLUBLAND
Club Metro was the super-club of the day, the only multi-room,
multi-format 18-and-older nightclub west of the Mississippi. LYNNWOOD was deejaying
at Metro seven nights a week. His radio contacts and knowledge of the business
made him a pick for the entertainment manager gig and he was suddenly directing
programming, advertising/promotions, and talent bookings for the club.
“Back then, there were only a few DJs touring who had clean
compilations at national retail. We were the pioneers of the whole DJ mix compilation
blowout that went apeshit,” said LYNNWOOD. “We took the bootleg mixtape to
legitimate retail and those records sold crazy numbers.”
Encouraged by the growing success of Metro as an entity, LYNNWOOD
started a club-within-a-club known as ‘The Deep End’ inside Metro. At The Deep
End, LYNNWOOD booked nearly every quality dance act touring at that time, including
CRYSTAL WATERS, MIGHTY DUBCATS, ROBYN S., 2
IN A ROOM, and PLANET SOUL, the
latter spawning the internationally recognized DJ/producer, GEORGE
ACOSTA.
MOST REQUESTED AT RADIO
During the Metro years, LYNNWOOD was aggressively courted
by KGGI, the 1 rated Top 40 in the market. “They told me their music meeting
was essentially the PD and MD sitting in a conference room listening to my
show on KUOR. That was one of the biggest compliments ever had,” recalls LYNNWOOD.
EMERGE, MOGUL
“What a great way to live: see the world, meet great people,
play amazing music, repeat,” LYNNWOOD says wistfully.
Truthfully, he has always been more apt to exercise his business
sense between gigs, investing in grassroots businesses and other ventures.
Today, in addition to his syndication, DJ and production efforts, LYNNWOOD
holds ownership of an advertising agency, a web development firm, a record
label and a content syndication group launching mid-year.
LYNNWOOD’s latest studio efforts include his remixes of JET’s
“K.I.A.” (DJ Lynnwood Combat Remix) for 57 Music/EMI, DEPECHE
MODE’s “Peace” (DJ Lynnwood's No Serenity Remix) for Mute;
ALANIS MORISSETTE’s “Not As We” (DJ Lynnwood Reborn Remix & Edit) for Maverick/Warner
Bros. Records,
with more on the way. Earlier, LYNNWOOD’s remix of PAUL
OAKENFOLD feat. ONE REPUBLIC’s “Not Over Yet” (DJ Lynnwood’s Make A Move Remix) for Perfecto
Records went on to become the third best-selling download in the Perfecto
digital catalog. LYNNWOOD is currently touring and spending late nights in
his studio. His 2008 remix of the SILVERSUN PICKUPS’ modern rocker,
“LAZY
EYE,” made the charts of major DJs including TIESTO, MATT
DAREY, PETE TONG,
PAUL OAKENFOLD and GABRIEL & DRESDEN and is still played in clubs
all over the world.
MANAGEMENT
Sara Cooper
Sara Cooper PR
sara@saracooperpr.com
BOOKINGS
John Pierce
Mix Agent
(888) 649-2436
john@mixagent.com
PRESS
Emily Tan Media Relations
Emily Tan
(917) 318-3758
E-Fax: (646) 619-4907
EmilyEmilyTan@aol.com
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