So I received my shipment of the Sampson 7 Drum Kit and 1 condenser sounded great but the other was full of noise.  Now I don't trust them.  So I am returning and going for the Rhode Matched M5's after all.  I will need to add kick and tom mics later.  I did just get a new Shure SM7 for the snare so I am slowly building a better mic selection.
 
Rimshot
 

BTW, as a long time studio drummer in Los Angeles, The AKG 414's were widely used for overheads way back when as well as U47 and U87's in the nicer studios.  When I produced and recorded a jazz album for drummer Billy Higgins, I used all SM57's on his kit including overheads along with a 421 on his kick.  The album is called "Mr. Billy Higgins".  
 
Rimshot
 
 

Hey Jimmy I don't own the Rode mics myself but I have used them a lot in my job as a sound engineering teacher.  One aspect of our classes is teaching students how to to record a fulll live band with a loud PA on in the room at the same time. (A situation that does happen from time to time) Now it is possible to get pretty decent separation on everything except the drum overheads obviously. They are going to be prone to the PA the most out of nearly all the mics in the room.
 
I have found if you position the Rode mics slightly out front and pointing inward towards the snare on a slight angle they give an almost amazing amount of drum sound with virtually no PA in the background. I don't know how they do it. They have an amazing ablity to reject unwanted sound for some reason.
 
I even recorded a very loud band in a very small room once at another campus and we had those as overheads and the same thing resulted. Almost drums only in those mics and not much else. On that day I was expecting the worst in the overheads but was quite amazed at what I heard on playback. There were loud bass and guitar amps right in front of the drums that day.
 
The mics that Daniel mentioned are beautiful as overheads and so are 451's too but they are hopeless at keeping the PA out of the overhead sound though. They tend to work better when it is either the drums only making sound in the room or most of the sound.

Hey Jeff - good to hear!  My budget is so tight that I really try to maximize by purchases for multi-purpose use.  The Sampson kit seemed fun to have if the condensers worked by I am convinced the M5's are the right choice for me now.  Your feedback helps reinforce that too.
 
I had some fun researching a two mic drum setup.  Some of them sound good.  Here's a good YouTube on it:
https://www.youtube.com/watch?v=YV-N_gA6gDI
 
Here is a pic of Joe Morello with I think a U87 above his kit:
http://www.drummerworld.com/pics/drumpics2/joemorello.jpg
 
Here is a good blog on Joe Morrello recording:
http://www.gearslutz.com/board/high-end/343772-how-joe-morellos-drums-recorded-time-out.html
 
Jimmy
 
 

So I received my shipment of the Sampson 7 Drum Kit and 1 condenser sounded great but the other was full of noise.  Now I don't trust them.  So I am returning and going for the Rhode Matched M5's after all.

 
Not surprised.  Samson is the worst audio company in the business.  Rode is one of the few trustworthy budget makers since their state of the art factory model and quality control are enviable.  

bluzdog
I use a pair of Octava mc-12's also and I like them a lot. They were all the rage for SDC's awhile back.
 

 
I like them alot for OH duty. Full and smooth! If you need a super bright sound, they'll take a +5 dB, 10 kHz shelf beautifully, but I usually leave the high end as is.
 
I don't like them for other stuff though (guitar, percussion etc.), too brash and "heavy" sounding for lack of a better word.
 
Sven