Japanese (Rōmaji)

Yāren sōran sōran Sōran sōran sōran (hai hai!) Nishin kita ka to kamome ni toeba, Watasha tatsu tori nami ni kike choi.
Yasa e en ya sa dokkoisho (a dokkoisho, dokkoisho!)
Yāren sōran... Oyaji tairyō da mukashi to chigau Toreta nishin wa ore no mono choi Yāren sōran... Fune mo atarashi norite mo wakai Ichi-jō-go-shaku no ro mo shinaru choi Yāren sōran... Tama no suhada ga shibuki ni nurerya Uwaki kamome ga mite sawagu choi

English Translation

Yāren sōran sōran Sōran sōran sōran (hai hai!) I asked the gulls if the herring had come, "I'm a bird on the wing, go ask the waves."
Yasa e en ya sa dokkoisho (a dokkoisho, dokkoisho!)
Yāren sōran... Boss, it's a big catch, not like the old days, And the herring we've caught are mine. Yāren sōran... The boat is new and the crew are young, Even the fifteen-foot oar bends. Yāren sōran... When the spray wets my smooth bare skin, The fickle gulls see it and make a fuss.

Sōran Bushi is a Japanese folk song (min’yō) from the herring fisheries of Hokkaidō’s Japan Sea coast, and is said to have started on the Shakotan Peninsula. From the Edo period into the 20th century, migrant fishermen from northern Honshū came every spring for the herring runs, and their work had a set of four songs: one for rowing out, one for raising the net, one for scooping out the catch, and one for knocking the roe off the nets.

Sōran Bushi comes from the third, the okiage ondo. The herring were scooped from the holding net with a huge dip net and tipped into a carrier boat. While the net filled, the crew beat time on the boat with their poles and shouted “sōran, sōran,” calling it more times as the fish thinned out. Then the leader sang a verse, often a comic or bawdy one to keep tired men awake, and on “dokkoisho” they heaved the net up and emptied it. The tune probably came with the migrant fishermen from northern Honshū: around the port town of Noheji, in Aomori, people unloading ships sang a work song with the same “sōran” calls.

Around 1935 the Sapporo singer Imai Kōzan made the work song into a stage piece, adding a shamisen accompaniment and choosing verses fit for an audience, and about 1957 Hamada Kiichi’s more ornamented version became the standard one.

The melody here is from the transcription on Japanese Wikipedia. See also Kaigara Bushi.

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