Tons of great ideas already, but in the end it all comes down to what you consider a satisfying result - and how many/ what kind of mics you have to work with.
It's not just the mics, of course - it's also very much the room.
If your room is fairly live without being ringy of resonant at certain frequencies (at the position of your mic/mics), you can use fewer mics, at slightly greater distances, than if you were to close-mic the kit.
If yours is a woofy, thuddy, carpet-clad hell of a drum-room, then close micing with a big bag of mics may work out better.
Sure, to be able to emphasis certain characteristics of certain parts of the kit (kickdrum thud of boom, snare crack, hi-hat presence or volume) you need more mics, usually. But to get a nice, live, rock n' roll sound, I would use 3 mics:
Pair of condensers or ribbons as overheads, adjusted slightly for what you want to hear more or less of. Don't just think "stereo = symmetrical" alignment here - who cares!
Cardioid or multi-pattern large diaphragm positioned in front of the kit, somewhere around where your head would be, if you were kneeling in front of the kick-drum, looking over it. Experiment with distance, elevation, pickup-pattern here. If the room tone seems to add something nice in this position (use your ears), try omni or fig8. Use a good mic in this position ( I like a Lauten Oceanus) and the overheads are merely stereo-icing on the cake.