Christine Santelli
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Christine Santelli


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"Christine Santelli "Tales from the Red Room""

Christine Santelli
"Tales From The Red Room"
CD Baby
CD review by Roger-Z (02/09/08)

I haven't heard a woman belt out blues-rock this well since Bonnie Bramlett from "Delaney and Bonnie with Eric Clapton" fame. Santelli could enthrall me just by singing the phone book! I discovered her through a bulletin posted by singer Gina Sicilia. I clicked through to Christine Santelli's profile, listened to her tunes, and immediately requested "Tales From The Red Room."

The magic of Santelli's voice and pen transports the listener into a world of pain, sorrow, and dependence. She composed all the songs except "Freight Train." In "Shining Light," she pleads, "Hold me close so I don't fall... Cause if I hit the ground, I am staying down." "Stuck in Love" finds the heroine hooked on alcohol. "Don't know why I lose my mind. I'm lost in this deep black hole." In "She Wasn't Wrong," Santelli sings, "[She] found herself spiraling down. She wasn't one to ask for a thing. She hadn't seen much around. They say she plays up above and she sings." Santelli makes gentle fun of growing old in the aptly named tune, "Old." "I drink and I smoke til' I can't see no more... I carry around pens that don't have no ink. I bat both eyes whenI try to wink. I leave dishes and pans in my kitchen sink." Time presses in "One More Day." "We may only have one more day. Sleep with me and save all there is today." Hey Christine, you had me at "sleep!" And finally my favorite, "I'm So High." "Can you feel my face, it's been displaced, how will I know. Can you see my eyes, I'm blind, how will I know. Can you feel my breath, it smells like death, how will I know."

Simple, tasteful arrangements frame Christine Santelli's strong voice. Musicians include Santelli (vocals, acoustic guitar), Brian Mitchell (accordian, keys), Matt Mousseau (drums), Tim Tindall (bass, guitarone), Hugh Pool (guitar, dobro), Neal Pawley (trombone), Thomas Foyer (sax), and Mazz Swift (violin). Because Santelli sounds so good with full band. I asked her why she cut most of the tunes acoustic. She replied that at the time, she was playing mostly solo dates and hosting a singer-songwriter night at Scotland Yard in Hoboken, New Jersey.

So dim the lights, kick back, and let Christine Santelli's smoky, dark, sexy voice draw you into "Tales From The Red Room." Keep your wits about you. You may not escape!

©2008 Roger-Z - The working musician

"From Blues to Roots Rock New Album for singer Christine Santelli"

From blues to roots rock
New album for singer Christine Santelli
By: Diana Schwaeble
Managing Editor 01/10/2007

Blues singer Christine Santelli is moving in a new direction with her latest album, "Tales From the Red Room." The CD features 13 terrific tracks that showcase her fabulous voice and songwriting skills.
It has already gained notice. She was recently named "Best Vocalist of the Month" by "SingerUniverse" for the track "One More Day."
Hear Santelli and her band perform the songs live at Scotland Yard on Wednesday, January 24 at 9:30 p.m.
Blues maven
Santelli has built up a loyal following from her regular monthly gigs at Scotland Yard, the local blues bar in Hoboken.
Her current band line-up includes long time member Matt Mousseeau, who is the drummer and Santelli's husband. The pair has worked together for twenty years. Other members include: Tim Tindall on Bass and Jason Green on guitar.

Even those who haven't had the good fortune to hear her sing there have been privy to the work that she put into the bar, mostly in booking the talent and building a following for the blues club, which she helped build from the ground up.

According to Santelli, initially the bar wasn't known as a blues club and needed something for the early portion of the week to get people to come in.

"I started the singer/songwriter series on Sunday nights," said Santelli, "where a bunch of us got together to work on our songs."

She was able to draw a crowd of regulars and stellar talent to play the room.

"I've brought in a lot of talented people that you wouldn't [normally] be able to see for free," said Santelli.

"I've been nurturing it ever since," added Santelli, "like teaching people to clap after a solo."

According to Santelli, a few of her favorite gigs at the Yard were the benefit shows for Hurricane Katrina, like the recent King Family Christmas show to benefit the displaced New Orleans musicians.

The early years

Santelli is a talented, seasoned musician with over 20 years of experience. Although she's called Jersey City home for the last 15 years; she grew up in Clifton Park, New York. Her love of music began early when she began taking piano lessons at 7 years-old.

According to Santelli, she was taking piano lessons, but really wanted to play guitar, which her parents finally agreed to. One of her first teachers was Peter Davis, who tried to get Santelli to practice.

"He told me, 'If you didn't have such a beautiful voice I would kick you out, but I believe in you,'" said Santelli.

Those lessons paid off. She played her first solo show at the young age of 15 at the coffee house Café Lena that also has the distinction of having had Dylan on their roster.

Santelli said that she plans to go back there this summer to play.

Tramps in Manhattan was the first well-known New York venue she played at. According to Santelli, she got her break in that room from Steve Weitzman, a former writer of Rolling Stone, who was booking that room at the time. Santelli said that he rattled off a list of places that she should play at first, but eventually gave her a shot anyway. Santelli played at Tramps until they closed.

A new direction

"Tales From the Red Room" is different than her previous albums that were blues based. According to Santelli, she was ready to move in a different direction. Santelli said that she considers the new CD to be closer to a rock/roots album.

It took her nine months to complete the album, which she produced herself along with Mousseau and Hugh Pool. According to Santelli, the name for the album was taken from her living room in Jersey City where she wrote most of the songs. Santelli said that the room is actually yellow and green, but there are two red shades give the room a reddish glow when the sun shines through.

Santelli said that one of her favorite songs on the album is "Don't Follow Me," which is a melancholy ballad. Although the album is a departure from her blues roots, she doesn't think fans will have a problem with it. According to Santelli, she saw an old fan from her first album "24 Hours" at a recent show in Manhattan who came up to her and said that she really enjoyed the new material.

Whether or not listeners are blues fans or not they should appreciate the new album, which features 13 polished songs. Santelli's beautiful voice has been seasoned by years of blues singing, which positively captures the listener with its resonance and emotional depth.

The tours

Santelli has toured all over the world and played in some fabulous cities. Some previous tours have included: South Africa, France, Russia, Norway, Switzerland, and Montreal. At the Montreal Jazz Festival in 2004, Santelli was in the same line-up with Bonnie Raitt. According to Santelli, they were initially scheduled to play only one night, but they had such a great response that they were asked back for another - Hudson Current

"Christine Santelli Named November "Best Vocalist of the Month" With Her Song "One More Day""

©2006 Copyright: SingerUniverse,
All rights reserved.

To immediately listen to this month's Top Five vocalists, please Click Here

Christine Santelli Named November “Best Vocalist Of The Month” With Her Song “One More Day”

By Dale Kawashima

Christine Santelli, a talented, veteran rock singer & songwriter based in Jersey City, NJ, has won the November SingerUniverse “Best Vocalist Of The Month” Competition, for her performance of her song “One More Day”. This song is from her new 13-song CD, Tales From The Red Room, which she will release independently later this month (Nov. 2006).
Christine Santelli

“One More Day” is an intimate, acoustic ballad, which features a sparse but very effective arrangement (mainly guitar, bass and strings). The recording provides an excellent showcase for Santelli’s strong, soulful vocals. Her vocal performance on this song is reminiscent of Marianne Faithfull’s compelling style, but with a smoother, less raspy approach. “One More Day” was adeptly produced by Santelli with her husband Matthew Mousseau, who also plays drums on her albums and in her band.

Santelli grew up in Clifton Park in upstate New York, where she learned to sing, play piano and guitar at a young age. She was inspired by listening to such artists as Joni Mitchell, Bob Dylan and Etta James. During high school, Santelli played solo gigs at coffeehouses, and she was the head of the folk group at her church. For college, she attended Plattsburgh University (in NY), where she graduated with a degree in psychology. Also during her college years, she developed her songwriting skills, and she fronted a band which toured several Northeast states.

In the ‘90s, Santelli moved to New York City to pursue her music career, and she formed a band called Christine & The Dickens. The group recorded a CD called 24 Hours and they toured steadily, including touring overseas. The Dickens eventually broke up, but Santelli continued touring with a new band and recorded two live albums, Live In Paris (a rocking blues album) and Moscow Live. Over the years, Santelli & her band have performed in many countries, including France, Russia, Norway, Switzerland and South Africa.
Christine Santelli performing live.

Santelli subsequently wrote and recorded two more studioalbums, Season Of A Child (in 2002) and Christine Santelli (2004), prior to recording her latest album, Tales From The Red Room, which includes “One More Day.” “The new album is more acoustic,” explained Santelli. “The songs I wrote for this album just happened to be geared towards a more acoustic sound – it flowed naturally. There are some rock, jazz and blues songs on the CD, but overall it’s more acoustic.”

Now with the release this month of Tales From The Red Room, Santelli is looking forward to promoting her CD. “I’m excited about my new album, and I will be doing a lot of promotion, including getting airplay and touring,” she said. “I will be performing solo gigs, plus playing shows with my band. And currently, I’m looking for an agent who can help me book more shows and tours.” - Singer Universe Magazine

"Best of the Fest Not on main Stage"


Best of fest not on Main Stage

by Steve Barnes

ALBANY -- More than nine hours after Maynard Brothers Band lamented bein' done wrong by a woman, there was Jimmie Vaughan, equally aggrieved about a gal -- a kinky, two-timin' gal, no less -- and bouncing his twangy Texas guitar sound off the marble of the Empire State Plaza.

Welcome to the Fleet Bluesfest.

The annual event, held from noon to about 10 p.m. Saturday, drew thousands of listeners throughout the day to hear a dozen acts that performed on three stages around the Plaza. People strolled: It took perhaps four minutes at a medium pace to get from the Main Stage, in front of the State Museum, to the North Stage, between The Egg and the State Capitol. People tried to hide from the skin-crisping sun; the best spots were beneath the blockheaded trees along the Plaza. A kid on inline skates nearly went into a reflecting pool; he'd been startled by a fellow who was wearing a five-foot-long python around his neck and waggling his butt to tunes by local favorite Ernie Williams.

But mostly people listened to the blues, in all the messy, rude, unhappy, introspective, defiant, soul-touching and danceable forms the style has to offer.

Vaughan -- who was made headliner after Bo Diddley canceled because of illness -- is a guitarist of undeniable ability. And there's no disputing the sheer fun that his headlining set delivered.

But this year, more than in the past, the best blues was found on the second (North) and third (Acoustic) stages. None of the other Main Stage performers -- Shirley Johnson, A.C. Reed & the Sparkplugs, Kenny Neal -- came anywhere close to Main Stage dynamos of past years such as Shemekia Copeland, Skeeter Brandon and Koko Taylor.

Instead, the wowing music came from folks including Richard Johnston, Les Sampou, Christine Santelli and Guy Davis. The young hill-country bluesman Johnston, more impressive than he was last year, screamed through on a sloppy old jalopy of sound. He played three drums, a high-hat and maracas -- all with his feet -- and used as his "guitar" of choice a thing he calls the "diddley bow": basically, four strings on a couple of broom handles stuck into a cigar box.

The homegrown blues diva Christine Santelli gave an alternately rousing and scorching performance, fully supported by a rousing band (and a thrilling keyboardist). She hot-footed easily with the zydeco-tinged "Happy," plunged soulful with "I Can't Stand the Rain," and mined such sadness from Etta James' "I'd Rather Go Blind" that you didn't know whether to applaud or send a condolence card.

The most unexpected, and also most transcendent, song of the Bluesfest came on the Acoustic Stage from Davis, son of actors Ossie Davis and Ruby Dee. After some standard, well-executed blues, he performed a mesmerizing version of the Bob Dylan tune "Sweetheart Like You."

The Maynard Brothers Band, who beat out two other local groups in Friday night's Colossal Contenders Contest, sponsored by the Northeast Blues Society, opened the day at noon with a fine, tight set on the North Stage. There wasn't much of a crowd -- perhaps 150 -- but the quartet, fronted by three big bald guys, showed they've mastered the blues sound and subject matter. One tune, they informed the crowd, was about "drinkin' and sufferin'."

When: Noon to 10 p.m. Saturday
Where: Three stages on the Empire State Plaza, Albany
Length: Most acts played 45-60 minutes; Neal, 75 minutes; Vaughan, even longer
Highlights: Headliner Vaughan's guitar playing was superb, but the bluesiest, most impressive and affecting music came from performers on the second and third stages: Richard Johnston, Christine Santelli and Guy Davis.
The crowd: Large and happy, toddlers to seniors; as it changed throughout the day, an exact figure is difficult to pin down, but don't be surprised if 10,000 people passed through the Plaza over 10 hours
Organizational note: Kudos to Bluesfest staff: Almost everything started exactly on time. Only one set was noticeably late -- and a mere 15 minutes at that.
Sunburn quotient: High; recommended sunblock was SPF 30, at least
- Albany Times Union

"The Christine Santelli Band Proud, Poised and Powerful"


It's a veritable treat when a singer's personality makes it's way through a performance, and Christine Santelli just couldn't be putting us on. If she is, it's the act of the century. Here's a singer that literally fills the room with confidence and assurance. That "Don't mess with me" persona is a difficult and strenuous feat for the best of them, but Christine carries it off with aplomb, virtuosity and a definitive display of self expression.

The band is a monster with three heads. Hiro Suzuki sets up an arsenal of three guitars (what else but- Strat, Tele and 335,) played through a Marshall all tube combo that can level a small city with very little stress to the power transformers. He's got speed, technique, dynamics and an encyclopedic source of licks that had us left in the dust trying to figure out where they came from. He plays percussively, melodically, and with a continual source of zealous intensity that keeps everyone on their toes. He took a few chances and made good on every one. The crowd was enthusiastic with his every flourish. The band enjoyed his adventurous solos, and he enjoyed his own playing with a modest nod now and then as he drove those guitars through their paces.

Chulo Gatewood is a gifted bassist whose tonal expression is a soothing, comforting bed of runs that supports the other players like a security blanket, and when he solos, watch out! He pops and slams his way to another place that usually would be considered unconventional in the blues. But all is forgiven when he shows you the way back to the head in a solid, logical turnaround. Matt Mousseau is the consumate drummer. Solid, driving, and unrelenting, he carries his family around tempo changes and cut time extravaganzas that allow the listener to take a breath and appreciate the utter simplicity, but well placed embellishments, that make the arrangements fresh and full of life.

Mike Lattrell on keyboards is a standout. His New Orleans flavored bass lines and energetic soulful upper register voicings had that bawdyhouse flavor that could wake up the dead. His propulsive, over the top solos, as well as those quiet, pensive interludes, gave a smoky, eerie feeling to an already distinguished presence. When he left the stage during "Iko-Iko" and returned with a trombone, his mastery of the instrument brought the standing room crowd to another level.

And then there's Christine. I have never heard "Caledonia" sung with such sublime tonal quality and phrasing. Her vocal range is strong in all the right places and there's a smoldering sultry quality that begs to be noticed in every song she sings. "The Thrill Is Gone" is BB's own, but her moaning, sensual, and exceptional close miked breathing left everyone speachless. Here's a great new way to do this tune. She growls and purrs with cuts, stops and raspy upper register bends that make you glad you came out on a cold night such as this. She's a standout in every sense. A natural front person and a crowd pleaser. You'll definitely be hearing from her in the future.

 by Ira Bolterman

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  - NY Blues Society

"The Christine Santelli Band "Live in Paris""

The Christine Santelli Band
"Live in Paris"

A live recording is an acid test. A babtism of fire. If a bands sounds right without the benefit of a protective, artificial, sound-proofed womb, then a standard is set for all to follow. It was no surprise to hear that the Christine Santelli Band succeeded at this task not only gracefully, but definitively. Some major record labels could learn from producers Matt Mousseau, Mike Lattrell, and Christine Santelli herself.

 "Turtle Blues" opens the set up. It is a solid shuffle with just a nod to composer Janis Joplin. Christine needn't worry about comparisons. Her stamp is on this one, and it's quite expressive. "Love Me Like A Man" fills out the original version with sensuality and simmering desire. "Since I Moved To Georgia" is a Santelli original, and it suits her driving, room-filled vocals nicely. A New Orleans, Appalachian influenced rootsy romp that, along with Matt Mousseau's imajinative and in-your-face (but not too loud) drumming, brings the mandolin (!) to an acceptable place in the blues idiom.

 Hiromasa Suzuki's relative minor foray on "I'd Rather Go Blind" blends in perfectly with Christine's chilling and raspy interpretation that gives the lyrics a desperate quality that this song was created for. "Shaky Ground" shows us that this drummer is in command of the rhythm section in no uncertain terms. Matt Mousseau's assertive phrasing, highlighted by his judicious use of the snare and kick drum demonstrates that less is more when done correctly.

 "Caledonia" swings with with Matt's guidance and Hiromasa's horn-like fills and leads. Mike Bernal's bass walks all over this one as Mike Lattrell's keyboards dance and punctuate Christine's animated take on this standard.

 One more kudo to the courage and integrity of these producers who chose to leave in the occasional swell of unwanted feedback, and one or two flubbed notes. The energetic performance and high quality recording, mix, and stereo imaging add to the dynamics that actually enhance the appreciation of this excellent recording. Isn't that the way it's supposed to be?

 by Ira Bolterman

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- Darryl Bridges Blues Magazine

"Any Better Time"

On her seventh CD, blues-rocker Christine Santelli shows off her stylistic versatility with a varied program that includes a couple of excursions into country, a nod to New Orleans, a strange and carnivalesuqe number, and plenty of straight-up roots rock. The focus here is on her voice, which is interesting: at its best, it's a dark, smoky, and richly textured instrument, while at its worst it can be almost painfully scratchy and raw. Santelli's songwriting is grittily mature, and on highlight tracks like the sultry "Guilty," the softly gorgeous "Brown Haired Girl," and the straightforward blues-rock of "Sparrow," the vulnerability of the lyrics and her intimate vocal delivery come together perfectly. Her sidemen are also worth noting; Tim Tindall's basslines are self-effacing but utterly perfect on "Butterfly," and Brian Mitchell's barrelhouse piano adds a very nice swamp-boogie element to the title track. "Calgary" is built on a minimal and lovely arrangement that showcases Santelli's voice at its roughest, an effect that detracts from the song in a few places, and the album-closing "On the Farm" sounds almost like a Hee Haw parody. But for the most part, this album is a solid roots rock winner. ~ Rick Anderson, All Music Guide - All Music Guide

"Is there any better time for Christine Santelli?"

'I've been doing this, somebody listen to me.'

Is there any better time for Christine Santelli?

By David McGee

Photos by Alicia Zappier

"I've had several tattoos and piercings, but I never want to get stapled again."

Well, in journalism that's called a "grabber" lead.

The set at the Dubliner pub in Hoboken has barely begun and Christine Santelli is explaining to an attentive, fairly packed house how she happened to wind up with a staple in one of her fingers only minutes before she took the stage. It was an accident behind the bar, where was actually taking orders and serving drinks prior to her performance. This is not an unusual occurrence. Santellli, who books the music at the Dubliner, seems to have the run of the place and a command of the room even before she starts playing. It feels very much like her party. She has a way about her. And piercing Dietrich eyes that will look through you and melt your heart all at once. You don't need to know she has a Master's degree in Education to sense she is the smartest person in the room. Maybe the most complex too, working a tender-tough persona with an adroit sense of balance between the two and never really letting on which side of her she feels most comfortable with--not even in her exquisitely crafted, literate lyrics, which further the Santelli dialectic: Is she the brooding, doom-laden protagonist of "Good Day For a Hangin'," seeing a world of hurt with every step she takes, or the open-hearted, yearning romantic of the beautiful, gently rocking plea, "Butterfly," not seeking big, sweeping gestures of commitment but rather a kiss on the hand, a smile "as you drive away," a phone call "in the afternoon," a tender caress of her face?

"Have you ever seen Christine play before?" asks bartender/musician Mike Frensley. "She's the real deal." He nods. "The real deal."

Nothing in her Dubliner performance (she plays there every third Tuesday but can also be found sitting in on open mike and singer-songwriter nights throughout each month) or during two sets--one solo acoustic, one with her first-rate band--later in the week in Manhattan before ungracious audiences at Hill Country Barbecue confirmed the veracity of Frensley's assessment. She may be the real deal in a way few artists who have laid claim to that honorific could justify it. It doesn't hurt that she looks great with the Levi's, western shirts, long, flowing blonde hair and those Dietrich eyes. But her original songs set her apart, way apart, from most of her peers. Nominally a blues artist, she's equally at home and equally persuasive in folk and country. She writes what she feels, not "a blues song," or "a country song." She writes songs, period. That she is so stylistically diverse makes it hard to pigeonhole her, possibly to the detriment of her commercial advancement but to the distinct advantage of her deeply emotional art.

Before the Dubliner set, two 20-something young women were positively giggly over the prospect of hearing "Butterfly" live. They heard a touching rendition of their favorite song. But both the Dubliner and Hill Country audiences also heard her grind out tough blues in "Ode to Bill," snarling blues in "Guilty," a gently fingerpicked and delicately sung version of Elizabeth Cotton's "Freight Train," the semi-autobiographical tragedy that unfolds with a country lope but devastating finality (and a gorgeous refain) in "She Wasn't Wrong," and the Spanish flavored romance of "In the Distance." Her rhythm section of bassist Tim Tindall and drummer (who doubles as her husband) Matt Mousseau played this eclectic mix with impressive subtlety to the shifting emotional textures Santelli shapes during a set, and electric guitarist Jason Green pretty much blew everyone away with a florid but self-effacing display of chops, spitting out howling blues choruses, B.B. King-ish single string runs, rich, jump blues chordings, and some jazzy interludes against the anxious rhythm of "Justify." Santelli brought it all back home, though, with her remarkable singing, inhabiting each song fully, and using both the rough, husky, Janis Joplin-like edges and gently caressing balladeer's timbres of her voice to bring her lyrics alive, underscoring the dramatic shifts in character she reveals in literary flourishes in, say, "She Wasn't Wrong," when your perception of the song's wandering minstrel is irrevocably altered when, in the second verse, she sings, "months went by for this child/made her harder than stone/fall and winter were mild/spring came in like a storm." Child? Child? That's more than a convenient rhyme with "mild"-it completely alters our understanding of the character in question and foreshadows her ultimate demise. Santelli's songs are full of such sly turnarounds designed to lay you low and make sure you never forget her.

But you do have to listen. In her opening acoustic set at Hill Country, playing upstairs near the bar area to maybe half a dozen people, with -

"Empowerment Now"

"Empowerment Now"

Christine Santelli: Any Better Time (Vizztone 388010:41:35) *** 1/2
On her seventh Album, this New Yorker successfully expands her personal vision of the blues with several strains of country music, including Cajun. The grain in Santelli's voice lends her singing an edge of earnestness that fits the appealing tunes she wrote about giving in to despair ("Down in the Valley") and juping off the "fast track" (Lily's Song"). Not a blustery guitarist herself, Santelli calls on Popa Cubby to incinerate the blues-rock breakout "Ode to Bill." Her ambitious "For You" matches the song character's emotional health to surprise giddy cirucus music. - Downbeat Magazine


"24 Hours", "Live in Paris", "Moscow Live", "Season of a Child", "Christine Santelli" "Tales from the Red Room" "Any Better Time"



What a rarity it is to find an artist who can blend elements of folk, rock, country and roots into one unique expressive form of music they can call their own. The music of CHRISTINE SANTELLI is an art she can truly call her own, as is the interesting story of her talent in musical evolution. A born music lover from Albany, Christine Santelli began singing, playing, writing and performing at a very young age. Her talents lead to form her first professional band, the now defunct christine and the Dickens, while still in her teens then came the touring. After performing extensively throughout the northeast with the Dickens, Christine Santelli moved the group to New York City. In 1994, Christine wrote and recorded her first CD,"24 Hours", and soon booked her first international tour in France. Recordings of these performances are now well known as "Live in Paris", Christine's second release. The CD led to tours across South Africa, Spain, and Russia. Subsequently, recordings surfaced from performances in Moscow. The content was so strong, that it was soon released as "Moscow Live". After several more overseas tours, Christine completed writing and recording her fourth album, "SEASON OF A CHILD". This album led to two Scandinavian tours along with major radio play and recognition. Soon, she found herself headlining major festivals and sharing stages with many well-known. After touring had settled down, at least for a little while, Christine found the time to write and record her fifth album, "CHRISTINE SANTELLI". The record release was followed by tours throughout Norway and Switzerland, during which Christine performed two shows at the legendary Montreux Jazz Festival, where she shared the bill with revered blues woman, Bonnie Raitt and guitar legend, Steve Cropper. Christine's latest CD, "TALES FROM THE RED ROOM", is considered by fans and critics to be her best work yet. The album, inspired by Christine's solo acoustic work, has been well received and showcases her versatility within the realms of singing and songwriting. Singer Universe Magazine selected Christine as the "Best Vocalist of the Month" in late 2006 for her song "One More Day". Christine has since toured in Switzerland and Germany, and has been developing the beginnings of her next project. Today, Christine has a growing legion of devoted fans who can't get enough of her seemingly endless on-stage energy, and her powerful vocal delivery. It is Christine Santelli's golden voice that has dept the twenty-years-worth of fans she has garnered coming back for more. The soulful, gritty, honest and emotive sounds that come out of this petite powerhouse when she sings are unique, moving and instantly familiar and appealing. Her latest CD "Any Better Time" has been receiving rave reviews and is featured on satellite and americana radio. "Solid Roots Rock Winner" All Music Guide.