During the "Amorica or Bust" tour of 1995, many of the relationships within the Black Crowes had soured, including that of brothers Chris and Rich Robinson.

This was a distinct change from the band's sophomore effort, 1992's The Southern Harmony and Musical Companion, which was recorded in eight days with little to no overdubs.

"The eight day album was coming off of 15 months of touring and we were still just flying," then-bassist Johnny Colt told RockNet in 1995.

"[9] Chris Robinson recalled the Amorica process: "It was hard to make because we were depressed and in an angry, confused place.

"Chris suggested that rather than book a hotel for six months, it'd be cooler if we rented a house for everyone to stay in," Rich Robinson noted in 1996.

It sounded so cool that I brought my big board over, and the rest of my shit, and we rented a Neve sidecar for 10 extra channels.

"[7] As pre-production for Three Snakes and One Charm began, several songs were written with Chris and Rich Robinson on different sides of the United States.

[7] It was during the recording of Three Snakes that the band decided to introduce new elements into the music, the most noticeable being a horn section on "(Only) Halfway to Everywhere" and "Let Me Share The Ride."

Other members of the band credited the more communal atmosphere of Chateau de la Crowe with making the album a success.

"[12] Guitarist Marc Ford concurred with Colt's sentiment, adding that the atmosphere created by recording in a house fostered his musical relationship with Rich Robinson.

[7] The Black Crowes began the supporting tour for Three Snakes and One Charm on July 5, 1996, in Burbank, California, where the album was given its world premiere.

[13] The album would see its official release on July 23, 1996, several weeks into a world tour that would go straight through the end of the year and into the next, expanding their in-concert repertoire to more than 90 songs.

The show was relatively new at the time, with each episode capturing artists performing in front of a (mostly small and intimate) live audience, telling stories about their music, writing experiences and memories.

"[15] Rolling Stone magazine also gave the album three stars, noting that it "works best when it forsakes album-oriented pretension for singular clarity, from the oblique Beatles references on 'Nebakanezer' and 'Bring On, Bring On' to the Sly Stone-cum-Al Green funk of '(Only) Halfway to Everywhere' and the warm acoustic resignation of 'Better When You're Not Alone.