There's no hard and fast rules about using condensers to close mic kick, toms and snare, but 99% of the time if you're going to buy a special kick drum mic it's a dynamic. Dynamics are also the most popular for snare and toms. To start building a mic collection, you don't need to go overboard and spend a lot of money - if someone's telling you different, they might not know what they're talking about.
You need a good selection of mics that can handle different tasks, and this is a mix of dynamic mics and condenser mics. They each have their own advantages and disadvantages. Later on when you know more, and after you've done a bunch of recording, (and reading - there's a lot more info out there) you can start to decide for yourself what mics you need to give your collection balance and versatility.
For suggestions, a Shure SM57 (dynamic) is number 1. Very versatile, workhorse mics that are often a number 1 choice for snare and guitar amps. They also work well on toms, kick, bass amps and vocals, but there's other mics that might handle these jobs better. Mic placement techniques are very critical, more so than what you have. A pair of small condensers like the MXL 603s will work well for overheads, because they work well from far away and they can pick up sound fast enough to record cymbals accurately. Most of the drum sound will come from 2 overhead mics, and you can use 1 or 2 dynamic mics to fill in the weak spots - usually kick drum and snare. With these 3 mics, you can do a good job on recording lots of stuff, including drum kit. Later, you can add a different kind of mic - maybe a good dynamic that has more bass response than a 57, like the Audio Technica ATM25. The ATM25 will probably serve you better for kick, bass and maybe vocals, so it adds versatility. Your next mic might be something different again, like a large diaphragm condenser, but be very well informed before you buy one. There's good deals, and there's not so good deals and large condensers are over hyped. Still, this would be a different type of mic again, and it would add more versatility. Instead of a large condenser, you may want to consider a really high quality dynamic mic like an SM7 or RE20 or 421. These dynamics can be a lot more versatile, and they sound excellent. You may even want to get a ribbon mic at that point, but they work best with a good preamp. A really nice preamp will make all your mics sound better. If you buy a bunch of mics that are the same, your choices are limited. You don't want to buy something that you're going to have to sell later on because it wasn't what you need, and you can get by and do some excellent recordings with very few mics, as long as you get the right ones and learn how to use them as well as you can. Start simple, and build it up slowly with the right stuff - it will save you money and frustration in the long run. Select different types of tools to add versatility, and don't overlook the dynamics. Condensers aren't always the answer.
For specific mics to get, you might want to solicit opinions from other people. Maybe head up to the mic forum and post something like, "Hi. I'm trying to build a home recording setup to record a full band with drums using a DAW and I'd like to know what microphones I need to start with. I'm on a small budget, and I'd like to make versatile choices that I won't quickly outgrow. Any suggestions?" That way, you don't need to rely on one or two opinions to steer you in the right direction. Be informed.
You could easily damage or alter a condenser or ribbon mic by placing it inside a kick. People do it, but very carefully, and only when they have a lot of experience. If you use condensers to close mic toms, they might get smacked with a drum stick. Dynamics are better at taking the punishment. A pro might use a dynamic mic or a condenser or even a ribbon for any of this stuff, but only because that's the sound they want, and they have the experience to know how to properly use the tool. Dynamics are very good at close micing, and they give more of a fat sound, so they're a lot more popular on the kick, snare and toms - especially for stage use.
Also, go to this website:
http://www.shure.com/booklets/default.asp
and download 2 PDF documents called:
Microphone Techniques For Drums, and
Microphone techniques For Music - Studio Recording.
These documents will help you a lot to understand how mics work. Read them when you have the time. You might want to print them out and keep them handy for reference. You don't need to follow these suggestions to the letter, and especially with drums, you can get excellent results with a lot less mics. It's often preferred to use few mics on drums. These files will get you started, and answer a lot of questions for you.
I hope this can help you - good luck with your choices.
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Firepod, Alesis mixer, Firepod, Alesis mixer.......ARGH!!!! 
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Most (if not all) of the people that mention the word "Audigy" in their post have not actually read the thread. 
