Promptly, the king, a poet himself, contacted the then Soviet Union, employed a skilled surgeon at his own personal expense, and brought him to Kathmandu. Over the next three months, surgery and silver were used to remove and reconstruct the vertebrae of Nucche's lower back at Kanti Children's Hospital. Dangol remembers the bolts that were used to tie him down. Nucche Bahadur Dangol lived and became well but his dancing career came to an end. He began to play the madal drums that he remembers handling when he was at a very early age; his father says, at the age of two. He also played Dhime and other traditional Newari instruments during festivals, meetings of elders, and on his own. His father was his mentor and he learned to handle khi, kochakhi, and other instruments and made music for jatra festivals, for prayers and rituals.

As a young child, he remembers being at places filled with music and people. He then remembers waking up with his face on his father's shoulder as his father carried him back home late in the night through the dark streets of Kathmandu. With his father very active in the music field with other important personalities such as Prem Bahadur Kansakar, Durga Lal Shrestha, Kunja Bahadur Ranjitkar, Megha Kaji, Kancha Bajracharya, and Kedar Man Byathit, it was not long before he also became familiar with the Nasa Khala music organization that they had established. The group organized musicals, religious performances, and played at the Singha Durbar and before a highly appreciative circle. Nucche Bahadur Dangol met other people who were to become important names in Nepalese music, among them were Indra Lal Shrestha, Nati Kaji Shrestha, Tara Devi, Bimala Shrestha, Chaitya Devi, and Bhuwan Shrestha.

Nucche Bahadur Dangol, who now runs Nateswor Music School and expects charity organizations to pay his "students" Rs. 4,000 to play for 15 minutes at programs offering free entry, remembers that they had to pay then significant sums of Rs. 0.25 to Rs. 0.50 just to participate. He says that he now charges Rs. 100,000 to play anywhere. Social situations, he says, also impacted the music tradition when he was young. Women dancing before an audience at programs were frowned upon by their relatives and guardians, though the tradition of women's dance is strong in the country and were stronger at the time. He remembers his father teaching Bimala Shrestha to dance in secret. He also explains that people in his community regard the Dhime as an instrument that should not be played during specific times such as the rice plantation season, particularly the monsoon.

Going back in time, he recalls he studied in Swayambhu Kothi as a child. He was given a scholarship there because he could dance and play music. At the launching of the Ranjana Film Hall, he won a princely sum of Rs. 200 in competition. He continued on the elite Durbar High School and received his School Leaving Certificate from Yubak Madhyamik School. During these years came his performance at King Mahendra's coronation and his illness. He had taken on a guru teacher after recovery and after years of study, when they were ready, had undergone a ritual. All the students had to go out and steal a chicken each and gift it to the guru. Only those who could steal chickens were allowed to use what they had learned from the teacher before a public. When learning was over, Nucche Bahadur Dangol, as one of few percussionists in Nepal, and as a person who had impressed important personalities, received many opportunities. He went to Europe and as a part of a team and performed before Queen Elizabeth. He performed before Jawaharlal Nehru in India, went to North Korea, Japan and other countries.

Yet despite these opportunities, he felt that Nepal was not giving serious attention to its musical heritage. The nation's only university at the time was only teaching Indian classical music and Nepali classical music was not in the course of study. When Angur Baba Joshi added Nepali music as a part of the study course at the Master's level, Indian music covered 70% of the course and Nepalese music only 30%. His father was invited by the university's cultural department to teach but there was no syllabus in place. Since his father was essentially a farmer who made music, Gopal Yonzon asked Dangol in 1968 (he was studying for his intermediate degree, freshman/sophomore equivalent), to teach at the university. Because he lacked formal educational degrees, Nuchhe Bahadur Dangol was given the lowest possible position. He taught in that position for seven years. When he went to play music before the king with Jalakman Gandarva and Narayan Gopal, the King asked them what he wanted and Nucche asked that he be given a real position at the university and was made a lecturer.

After years of teaching, the dean of Padma Kanya Campus invited him to prepare a syllabus for the campus though there were hardly any books on Nepalese music at the time. Gopal Yonzon and Nucche Bahadur Dangol created a folk music department which Dangol now heads. Ram Saran Darnal and Staya Mohan Joshi wrote books. Dangol also worked for Radio Nepal, the radio being the only form of communications understood and used nationwide was definitely the most popular form of outreach at the time. Late Queen Aishwarya was his student, as was Late Princess Shruti Shah. He worked with present King Gyanendra to give music to the King's songs.

Over the years, personalities such as Udit Narayan Jha, Prem Autari, and many other illustratious names in the Nepalese music world learned from him. Today Dangol is pleased that when the Indian film musician R.D. Burman heard him play the madal, he was so influenced that he used that instrument in a famous song "Hum Dono Duniya Chod Chaley." His most pleasant memory is of the time he was invited to play 32 Nepalese drums simultaneously in Japan. He feels music has been good to him. He has built two houses. He has made many friends. In particular, he recalls the popular Nepalese singer Narayan Gopal and how he would not let anyone who did not buy him Rs. 1 worth of raksi drink at the end of the day to play music in his songs. At the time musicians earned Rs. 3 for each song they gave music to. Dangol says that out of that whole group of friends who used to go every night of performance with Narayan Gopal to the bhatti bar on Putalisadak, only he is alive, and he is thankful to these gifts of life and creativity.