One of the most fascinating production decisions on How Soon Is Now? came from a limitation rather than an indulgence.

Morrissey was famously against backing vocals on Smiths recordings. No harmonies, no doubles, no choruses padded out with extra voices. The vocal had to stand alone, exposed and unmistakably his.

That restriction forced producer John Porter to think laterally.

Instead of adding voices, Porter imagined what backing vocals do. They provide movement, emotional lift, a sense of width and response around the lead. His reference point was classic pop craft, particularly The Beatles, where wordless “oohs” and “ahs” often acted as emotional glue rather than lyrical content.

So Porter’s solution was elegant. If Morrissey would not sing backing parts, Johnny Marr would.

The Guitar as a Voice

Marr recorded a slide guitar line designed explicitly to behave like a backing vocal. Long, sustained notes. Slow phrasing. No flashy technique. Just something that could breathe around the lead vocal rather than compete with it.

That part was then sent through a harmoniser, set to multiple intervals both above and below the original pitch. Instead of a single guitar line, you suddenly hear a shifting, choral texture that swells and recedes across the track.

It is not obvious as a “guitar effect” when you first hear it. It feels emotional before it feels technical. That is the key.

Why It Works So Well

The brilliance of this approach is that it honours Morrissey’s vocal purity while still giving the song depth and movement. The harmonised slide never distracts from the lyric, yet it fills the space where backing vocals would normally live.

It also reinforces what made The Smiths so distinctive. Guitar parts were not riffs alone. They were arrangements. Marr’s role was often closer to that of an orchestrator than a traditional guitarist.

On How Soon Is Now?, the slide guitar does not just decorate the track. It speaks for it.

A Lesson in Production Thinking

This moment is a perfect reminder that great production is rarely about piling on more elements. It is about understanding function.

When something is missing, the question is not “what can we add?” It is “what role needs to be fulfilled?” Porter identified the role of backing vocals and found a completely different way to achieve the same emotional result.

That mindset is timeless. Whether you are working in a bedroom studio or a world class room, constraints often lead to the most memorable ideas.

And sometimes, the best backing vocalist in the room is a guitar.