Warning: You only get a few seconds to buckle in for the live­wire ride on Asleep At the Wheel's latest album, Back To The Future Now, a rollicking reunion release that showcases Sony Nashville's new Lucky Dog label.

True to the title of its 1973 debut record, the group that has earned six Grammys is again " Comin ´ Right At Ya ," this time with a live album and an all­star assemblage of players­­distinguished Asleep At The Wheel alumni such as original members Ray Benson, Lucky Oceans and LeRoy Preston; ´70s stalwart Chris O´Connell , Floyd Domino and Tony Garnier ; the McGuire Sisters, special guests Wade Hayes and Tracy Byrd and the dazzling current Wheel unit of Dave Sanger (drums), Cindy Cashdollar (steel/ dobro ), Michael Francis (sax), Dave Miller (bass), Jason Roberts (fiddle/vocals/electric mandolin) and Chris Booher (piano/fiddle).

You'll find classic Bob Wills numbers like " Roly Poly," hopping with too many hot licks to count; and the bouncy "Ida Red," given a fresh spin as Benson shares the vocals with another young newcomer he admires, Columbia/DKC Music star Hayes. Byrd even joins in on " Roly Poly."

Of course, it wouldn't be a complete Asleep At The Wheel reunion album without several songs that helped define the bands fusion of country/swing/jazz/boogie sound of the ´70s­like Preston´s catchy "My Baby Thinks She's A Train;" the timeless, Tex­Mex­tinged ballad "Johnny Walker Red" with Chris O´Connell´s soaring vocals; and a Bob Wills instrumental gem, "Fat Boy Rag."

Toss in the silky twin­fiddles and warm tones of "God Bless The Child" and the high­octane "Cherokee Boogie," "Hot Rod Lincoln," "Boogie Back To Texas" and " House of Blue Lights," and you experience the full rang e of Asleep At The Wheel's engaging, upbeat presence from the past 27 years.

"It sort of fell to me to do this, because not dozens, but hundreds of thousands of people just say, continue to do this, it's really important," Benson says. "I have wide ranging tastes and at the drop of a hat, I'd do a lot of different things. But I really feel a responsibility to present this because you can't go see it anymore in a dancehall or honky tonk ; it's just improvisational, Western, jump­swing music."