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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