On the strength of albums like Zen Arcade, New Day Rising, and Candy Apple Grey, Hüsker Dü were a punk rock fireball destined for greatness. But bassist Greg Norton says: “The breakup of the band was most likely inevitable.” He adds of their 1988 split: “How quickly it all ended was a shock. I think we could have made a statement with another record or two.”
It wasn’t to be. Norton formed Grey Area before leaving the music business in 1991. He returned a decade later, and since 2022 he’s been with Ultrabomb. The band have new music is on the way, and Norton has a new signature bass with Reverend.
But at the moment he’s focused on Hüsker Dü – 1985: The Miracle Year, a live release that showcases their feisty nature.
“Obviously, Hüsker Dü means a lot to me,” he says. “I’m eternally grateful. I was in a band with two incredible songwriters. When people throw around the Lennon/McCartney comparison to Bob Mould and Grant Hart, I think that’s fair.
What’s the story behind Hüsker Dü – 1985: The Miracle Year?
About eight years ago, we made a point to inventory everything. We were like, “Holy crap – we’ve got this live recording from First Avenue!” We recorded the January 30 show with the plan of releasing it as a concert video. But we signed with Warner Bros. and the project got shelved. Rediscovering that was incredible.
And ’85 was an amazing year – we released New Day Rising about a week before the concert, and then Flip Your Wig came out in September. We were playing a lot of stuff from those records, and Candy Apple Grey, which came out in ’86, and stuff from Zen Arcade, Metal Circus, and Everything Falls Apart.
It’s a really great retrospective of the band hitting on all cylinders. We were so right that year and it was a lot of fun.
It’s been said that Hüsker Dü would often use live shows to work out unreleased material. Is that why you were playing songs from Candy Apple Grey?
We kind of got into this work mode – but I think it confused a lot of people, who said, “New Day Rising just came out, but you were playing all these songs from Flip Your Wig,” which was new for fans. But it became a thing that got people excited: “Are you gonna hear something that hasn’t been released yet?” I think that was pretty cool.
What was the key to your bass tone back then?
I didn’t use a lot of pedals. When the band first started, Bob and I both bought MXR Distortion boxes that we played through live. It gave the bass a little more distorted buzz. I still like that tone.
Why did you settle on Peavey heads and Ampeg 4x12 cabinets?
I went through a few different heads. I had a Peavey Mark VII for a long time, which was an ironclad road warrior. Then I switched to a Peavey digital head once we signed to Warner, and it had a compressor rack. It was more or less finding the right kind of round, fuzzy tone.
By the mid '80s you were mostly playing Ibanez basses, right?
One of the first basses that I got was a Gibson Les Paul Studio bass. It was heavy – not the right kind of bass to be playing in a punk band and sweating all over! I ended up corroding all the electronics, then I bought a Gibson Victory bass that I really liked.
It was heavy too. One night at First Avenue I tossed it up in the air at the end of the set. It landed on the headstock and cracked the neck, which was a bummer. So, I had to get something else, and I bought my first Ibanez.
It was a three-quarter scale Roadstar Series II. I played it throughout ’85; it was easy to jump around with. It was super playable and fast. Once we signed with Warner I bought two more Ibanez basses.
You played those for a long time and then switched to G&L for a bit. What led you toward Reverend recently?
I got the G&L Kiloton, which I played for the first couple of years with Ultrabomb. About a year ago, Ken Haas at Reverend sent me a Thundergun, and I really liked it.
We started talking about a custom graphic for a bass, and Joe Naylor came up with a design. It ended up being a unique bass for Reverend; and now I have my own Reverend signature bass. It’s about the feel of the neck – it’s not super heavy, and it’s got a great tone to it.
I'm really stoked and honored to have a signature bass. Ken Hass said if you’d told 14-year-old him that Mike Watt and Greg Norton would have signature basses with him, he wouldn’t have believed it. It’s pretty cool!
Is your Reverend a bass that your younger self in Hüsker Dü would love?
Definitely! Joe Naylor started the company then sold it to Ken and his wife, and they hired Joe back. He makes brilliant design decisions, and they use a South Korean luthier to build the guitars.
There’s nothing automated. It’s building guitars the way they should be built. The quality is fantastic and they sound great. I haven’t picked up a Reverend that I haven’t liked.
When you look back on classic Hüsker Dü songs, like I Apologize and Don’t Want to Know If You Are Lonely, what inspired you?
Hüsker Dü was my first band and it was Bob’s first band as well. I really learned how to play by playing bass with Bob Mould, writing lines that interacted and counterplayed off him.
A lot of the basslines were written to fill out the sound – make the sound bigger than just a three-piece. I can’t think of anybody better to have on guitar than Bob for learning how to play. It also helped shape my sense for songwriting.
When did you realize that Hüsker Dü were so influential?
While we were making records we weren’t like, “We’re making history here” – we were just trying to write the best songs we could. But in 2000 I got my first PC, and I was like, “Let’s see what the Internet has to say about Hüsker Dü.”
The first thing I saw was Paul Hilkoff’s Hüsker Dü Database. My first thought was, “Who the hell does this guy think he is? This is crazy!” I realized that 12 or 13 years on, Hüsker Dü had become more popular than we were when we broke up.
Now our fanbase in 2025 is even larger. I think it’s pretty incredible that bands can continue to thrive long after their demise, where people can discover their music for the first time. It’s pretty powerful.
It seemed like the band were firing on all cylinders at the end. Do you feel you left anything on the table?
We were slated to record a third album for Warner in February of ’88. The plan was to record in England; it would have been really awesome. So I think we definitely still had something in the tank. We certainly weren’t running on fumes.
How do you view the band’s legacy?
Sadly, Grant passed away eight years ago. His post-Hüsker Dü work was not as prolific as Bob's, but I think Grant wrote a lot of really great things. And Bob has had great success with his band and, of course, with the Sugar reunion.
Bob and I are still writing music that’s relevant today – nobody is trying to do the nostalgia thing or rehash the past. Both of us continue to evolve as artists and musicians.
Where do you go from here?
Ultrabomb just recorded our third studio album in the same studio in Minneapolis where Hüsker Dü recorded New Day Rising. It was pretty cool to be back in that room again! The record’s slated for release in mid-March.
- For more on the Ultrabomb, head to Reverend Guitars.
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