The story of The Jesus and Mary Chain — famous for 15-minute concerts and marrying squalling guitar noise with sweet ’60s pop on their iconic 1985 debut Psychocandy — will be told in “Barbed Wire Kisses: The Jesus and Mary Chain Story,” an biography due in October.

For this week’s “120 Minutes” Rewind, we take a rare trip into the mid-’90s to present footage from the Sept. 4, 1994, episode, which was guest-hosted by Bob Mould the same week he released Sugar’s second and final album, File Under: Easy Listening. The two perform together for the first time.

Less than three months after it was reissued on red vinyl for Record Store Day, Echo & The Bunnymen’s 1980 debut album Crocodiles is getting another vinyl reissue, this time on 180-gram audiophile vinyl in an expanded 2LP “Hardback Book Edition” that will feature the original album plus 10 bonus tracks.

If you’re into the more technical aspects of a how a band like Depeche Mode pulls off big arena shows, here’s a video tour of the band’s stage setup on the Delta Machine Tour, with a look at the keyboard arrays employed by Andy Fletcher and touring member Peter Gordeno, as well as Martin Gore’s guitar rig.

Morrissey has formally announced that his concert film “Morrissey 25: Live,” filmed at Hollywood High last March, will receive a “worldwide cinema release” in August to mark his 25th year as a solo artist. The film also will be released on DVD — Moz’s first such release in nine years.

Legendary independent record label 4AD — home in the ’80s and ’90s to the Pixies, Cocteau Twins, This Mortal Coil, Throwing Muses and so many more — will be the subject an exhaustive history this fall with the publication of Martin Aston’s new book “Facing the Other Way: The Story of 4AD.”

The Dead Milkmen return this week with the fourth in their new series of limited-edition 7-inch singles — this one’s called “Welcome to Undertown” — and you can now stream both songs off the vinyl single (the title track and “Streetlamps”) as well as the digital-only bonus track, “The Sun Turns Our Patio Into a Lifeless Hell.”