The album also made the band an alternative rock hit in the US, where their videos were featured on MTV and the album received many positive reviews in both mainstream and underground music presses. A large headlining tour in support of the album ensued in 1996, as well as supporting tours with Rancid and Soundgarden. During these tours the band gained a reputation for a series of interesting and, at times, seemingly ludicrous gimmicks and stage antics which included holding raffles during live performances, spinning a large game show wheel to determine set lists, onstage fire breathing, annual Halloween and New Year's shows, and the wearing of coordinated and progressively more ornate stage costumes. In Europe the band also hosted a German variety show, played children's shows and morning shows, and did interviews with fashion magazines. While unorthodox, these antics increased the band's reputation as an energetic live act and helped to increased album sales.
Scream, Dracula, Scream! was the last of three releases by Rocket from the Crypt in 1995. The EPThe State of Art is on Fire and LPHot Charity had preceded the album that year, and singer/guitarist John Reis would later refer to these three records as a "trilogy".
Scream, Dracula, Scream! was Rocket from the Crypt's most ambitious recording to date. Using the extensive recording budget granted them by Interscope, the band employed numerous guest musicians, a string section, additional engineers and mixing sessions, and experimented with several instruments they had not used before. According to the album's liner notes the album was rehearsed and recorded over a 2-month period, with the basic tracks recorded live on a 4 track machine and overdubs of the backing vocals and orchestra recorded later. The album's title was taken from the lyrics of a Wesley Willis song.
The album's liner notes also state that the band intended Scream, Dracula, Scream! to consist of one cohesive body of music, with traditional silence between track separations replaced with string, woodwind, and brass passages. However, Interscope demanded a more standardized album so the master tapes were cut and edited into traditional-length tracks.