On the following year's Sapphire she collaborated with another Motown veteran, Smokey Robinson, and paid tribute to James on "You Blow Me Away".
The other nominees – Janet Jackson, Jill Scott, Angie Stone and the eventual winner, Alicia Keys – all named her as a major influence. La Doña became a bestseller, while Marie was Grammy-nominated for Best Female R&B Vocal Performance for "I'm Still In Love" in 2005. Throughout the '90s, many rap and hip-hop acts sampled classic Marie tracks such as "Square Biz" and, when she made La Doña in 2004 for Cash Money Records, she could call on guests like Common, Lady Levi and MC Lyte, as well as James and the soul singer Gerald Levert, who duetted with her on "I Got You" and "A Rose By Any Other Name" respectively. But despite the involvement of Soul II Soul's Jazzie B, who produced and co-wrote the single "Since Day One", 1990's Ivory didn't fare as well and Marie and Epic parted company. Though Robbery, her first Epic release, didn't match her Motown success, her career regained momentum and she made the US Top 100 with Starchild (1984), Emerald City (1985), Naked To The World (1988) and remained a constant presence on the R&B charts there throughout the the '80s. "At the time it was going on, I was very bitter and frightened, and when I won the suit there was no great euphoria. "Every good artist needs a lawsuit," she later told Billboard magazine. However, despite the success of Irons In The Fire and It Must Be Magic, Gordy's meddling and a dispute over non-payment of royalties created an impasse and forced Marie's hand. The strategy worked and empowered Marie, who would grace the covers of the 12 albums she subsequently issued, starting with 1980's Lady T, which was co-produced by Richard Rudolph, the husband of the late Minnie Ripperton.
Still, in 1979, Motown wasn't quite sure what to make of this alabaster-skinned girl with red hair who sounded black, and purposely packaged the James-produced Wild And Peaceful in a nondescript seascape sleeve that didn't include a picture of her. Our relationship grew into something really beautiful." He didn't say: 'This is a white girl, I can't produce her'. "Rick knew there were feelings in my heart and songs upon my lips.
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Marie always recognised the crucial role James had played, both on a personal and professional level, and was devastated when he died in 2004.
This heady combination of restraint, yearning and eventual release would remain Marie's vocal trademark, on tour de force slow jams such as "Casanova Brown" – one of several she wrote about James – or "Shangri-La", that became staples of urban radio in the US.
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