“Lobster, shrimp, pasta, steak”

“I’ve got a nigga locked up for about another month”

“And the shit that we’re smoking could melt the MAC on they cheeks”

“Know how many pictures I was mad that I took”

“And all you wanted was Superhead’s book”

“…now the clothes is the Crooks”

“…Scotty Boy, NYC
{Fave?} gave me cavi, and cavi beat K Chips”

The video for “N 2 Gether Now” uses a more lighthearted and upbeat instrumental, courtesy of fellow famed hip-hop producers, The Neptunes.

After their performance opening for Korn at the Dragonfly in Hollywood was well received, Limp Bizkit signed with Mojo, a subsidiary of MCA Records. After a dispute with Mojo, Limp Bizkit signed with Flip, a subsidiary of Interscope Records. Arvizu persuaded Ross Robinson to listen to the demo. Robinson neglected to listen to it until it was appraised by his girlfriend. Impressed by the band’s motivation and sound, Robinson produced Limp Bizkit’s debut, which was recorded at Indigo Ranch. Durst’s problems with his girlfriend inspired him to write the song “Sour”. The mood and tone set by Robinson in the studio allowed the band to improvise; a recording of the band improvising appeared as the last track on the album, “Everything”.

Despite the success of live performances of the band’s cover of the song “Faith”, Robinson was opposed to recording it, and tried to persuade the band not to play it on the album. However, the final recording, which incorporated heavier guitar playing and drumming, as well as DJ scratching, impressed him. The progressive metal band Tool provided a strong influence in shaping the album’s sound, particularly in the song “Nobody Loves Me”, which contains a breakdown in which Durst imitated the singing style of Maynard James Keenan.

Continuing the band’s policy of using names that would repulse potential listeners, the band named the album by using part of the phrase “queer as a three dollar bill” and adding the word “Y'all” for Florida flavor, naming the album, Three Dollar Bill, Y'all.  completed album featured an abrasive, angry sound which Limp Bizkit used to attract listeners to their music. After the band completed recording, they toured with Korn and Helmet in 1997. Critics reacted unfavorably to performances of Korn and Limp Bizkit; Milwaukee Journal-Sentinel music critic Jon M. Gilbertson criticized Durst’s performance, stating “The one attention-grabbing moment of Limp Bizkit's rap/thrash show was when the lead singer expressed a desire for gay men to be ‘stomped’. Which isn’t remotely rebellious. It’s just puerile.” The group’s keyboardist Roddy Bottum later recalled “That guy Fred Durst had a really bad attitude. He was kind of a jerk. I remembered he called the audience faggots at one show when they booed him. Not a good scene.”

Interscope proposed to the band that the label pay $5,000 to guarantee that a Portland, Oregon radio station play the song “Counterfeit” fifty times, preceded and concluded with an announcement that the air time was paid for by Interscope. Durst stated, “It worked, but it’s not that cool of a thing.” Following the release of “Counterfeit” as a single, Three Dollar Bill, Yall was released on July 1, 1997, and was met with minimal response. AllMusic writer Stephen Thomas Erlewine wrote, “They might not have many original ideas … but they do the sound well. They have a powerful rhythm section and memorable hooks, most of which make up for the uneven songwriting.”

Touring consistently increased Limp Bizkit’s success, and the second single from Three Dollar Bill, Yall, a cover of George Michael’s “Faith”, became a successful radio hit, leading to a slot on Ozzfest, a tour organized by Ozzy and Sharon Osbourne. After completing Ozzfest, Limp Bizkit took a break from performing, and later performed on Korn's Family Values Tour. Durst also directed a music video for the band’s single “Faith” in promotion for its appearance in the film Very Bad Things, but was unsatisfied with it, and directed a second video which paid tribute to tourmates like Primus, Deftones and Korn, who appeared in the video. Borland stated in an interview that George Michael, the writer of the song, hated the cover and “hates us for doing it”.