Although you were responsible for a lot of great material in the 90's, there was never much information about you out there. Was that a conscious effort on your part to avoid press? I remember hearing the stuff that Bobbito was playing and thinking 'Wow - Don is still out there'... Around that time, maybe 4 years after 'Hazardous', I was always in the lab and just buggin' out. At that time, my dream was to have a Juice Crew, 'cause that was the thing: everybody had the crews. A nice little army of seven MCs, different types of skills, like the Five Deadly Venoms. Y'know, that kind of idea... a Justice League, no pun intended to any group. That was the real idea, and the guys from my neighbourhood that we watched karate movies with and made grilled cheese sandwiches... y'know, and whoever felt good that night would say 'Yo, let me do something'. And it ended up being maybe 100 tapes of all kinds of stuff. And that box of tapes, incidentally, I let one of my family members hold it for safekeeping. But, yeah, like I said, during that time I was recording a lot of stuff and Bobbito was really the only viable outlet because - believe it or not - I dropped tapes to EVERYBODY. And most of the time it was so much material that I gave them different stuff! If it was Profile - remember Profile records? - I used to give them stuff all the time... Geffen... Atlantic, when they started doing a lot of big hip-hop... I used to just give stuff away. And people just slept on it? It was like, 'Hey, this is Don - he does this - it's gonna be different tomorrow!'. It was weird. People would be like, 'Do you have any more stuff?'. And I'd be like, 'Dude, I just gave you twenty tunes...'. And then you'd find out that these things are on the 'net, on people's shows, and being played... these weird copies... That's the thing that seemed crazy. You'd done the 'Hazardous' album and built up a fanbase from that... and we were waiting for some more stuff... and you disappeared for a bit. We were wondering where you'd gone! Yeah, the Select situation... We talked about maybe doing something else, maybe another album, but the stuff I wanted to do was nothing like 'Hazardous'. Maybe people that really understood my music could have said 'Yeah - this is the next level to 'Hazardous' - it's the next one...'. But at the time, Kid n' Play was big, Chubb Rock and the Real Roxanne and it was hard to bug out and make records that you had to sit back and analyse. It was very hard to do that. I didn't think they was feelin' it. Not to cast dispersions on them, because they were good people - they gave me a start, they gave me a chance at least.
	Was the 'Hazardous' album the only thing that you put out while on Select? Yeah, but there was a kind of a single... a test pressing, but maybe they got scared about it - I don't know what happened. But, yeah there was a single that we used to listen to at the time. I think the next thing that we really noticed from you, especially over here in the UK, was the work you did with Ultra on 'The Four Horsemen' album. You made such an impression that we were wondering if you were actually going to join the guys permanently... Ha! That was my 'fifth Beatles' stage! I met Kool Keith at one of the New Music Seminars in New York, back in the day. Everybody walked around with name tags on and it was real cool, especially when you were tryin' to come up! You'd pay your money and they'd mail you this tag... and then you'd be walking around like a superhero with this tag on! So I saw Kool Keith and a friend of mine, Chic, from my neighbourhood, knew Keith. So he's like, 'Yo Keith! What's goin' on dog?!' and they're talking and he's like, 'Yo, this is my man Don...'. And then this guy left and Keith and I spent the rest of the day hanging out together - tryin' to sneak into the different venues that we didn't have access to! We was talkin' and laughing and one thing led to another - and that's how I hooked up with him. After that, he started comin' by the house and hanging out with the fellas, everyone was real excited to meet Keith. So it was a nice little spark in the crew: things got really productive and the levels got high in terms of performance - at least by our standards - and Keith was hearing a lot of stuff. And a lot of things we were fooling around with, he said 'Yo, this would be good for another Ultra album...'. And I was like, 'Really?' and he said, 'Yeah - let me let the fellas hear it'. And the guys came over, all the rest of the guys Moe, Trevor, Ced, and they're hanging out and it was cool. They had more control over this album. They had a nice budget from the success of 'Poppa Large' and so on from the previous album, so they were running things themselves. And, at the same time, Bobbito was hitting up the little tapes that we'd been doing. And I was hangin' out with a Keith a lot and we were making music a lot. There's one promo with TR Love, Keith, Percee P and me... Percee P came over the house too! We had fun, man... Damn.. you must have so much material stored up! Yeah! There's two tracks with Bobbito too... One with Bobbito, me and Cage... That stuff was crazy. We need to get this out there! That's the thing with the 'net... People criticise it for various reasons, but it's now easier than ever to hook up with people who are into the same music as you - and it's easy to get together a fanbase of people from all over the world. Well, we gotta talk about that after the EP comes out... Definitely. So Bobbito ended up putting the Cenobites material out to kick start his Fondle Em label... Yeah - that was the flagship release for his label. And it was so funny, because those cuts were taken out of the bunches of tapes that I used to just lay on his lap all the time! That was just *some* of the stuff that he liked, y'know? And that was what had thrown us - how could tracks of this calibre just be done for the radio?! How could they not have been intended for release initially? It was incredible. I was just so into the art of it that I didn't think to set up some sort of framework to put them out or offer them to the listeners. I really wasn't thinking like that, to my commercial demise! I was just thinking about 'I need to get that bassline better!' or 'That word needs to be more twisted!'. I never thought past that.