This tab is taken from GUITAR ONE Magazine: March 
2002.  

 " Most folks think of Elvis' career as a two-part drama. 
There was part one, subtitled "Skinny Elvis," wherein 
the kid from Memphis changed the face of popular 
music as little girls screamed and adults alternately 
snickered at or censored him.  Part two featured Fat 
Elvis, the tub from Graceland who grew increasingly 
out of touch with the world as little girls snickered and 
over-the-hill adults caught his Vegas act.  But the 
oft-forgotten prelude to Act II could have rewritten 
musical history if only the script was followed more 
closely.  This was Comeback Elvis.  

  Although the '60s found his career cast in concrete 
(bad movies, syrupy ballads, zero live perfromances), 
Elvis began to return to his rock 'n' roll roots by 1968.  
He released new, harder-edged tunes, and his 
legendary telvision show from that year (dubbed "the 
comeback special") displaeyd his still-fit body in black 
leather as he sweated and jammed at his spontaneous 
best.  "Suspicoius Minds" was recorded in January 
1970 and may have been the peak of the Comeback 
Elvis intermission.

THAT DRIVING VERSE AND CHORUS

  "Suspicious Minds" is built on an insistent rhythmic 
groove that is carried by the opening (and deceptively 
difficult) guitar figure.  Before you work yourself into a 
frenzy trying to figure out its string skipping and hybrid 
picking rom the recording, get comfortable with the 
chords and build up the rhythm with your strumming.  
Try continuous eigth-note downstrums with accents on 
every beat, set your metronome to 116 beats 
per minute, and then count each beat with a number.  
If you're doing it right, you should be counting 
"one-and, two-and, three-and, four-and," etc.  Each 
number will be an accented strum played with a firm 
stroke that includes all the strings of the chord.  The 
unaccented strums (the "ands") can be lightly 
feathered on just the lower strings, perhaps just the 
lowest note of each chord.  This strumming pattern is 
shown in Fig. 1, and it will get you through most of the 
song, except for that pesky soul-ballad bridge.  

THAT PESKY SOUL-BALLAD BRIDGE

  Elvis puts a brake on the rockin' rhythm to testify 
about lettin' his love survive.  Elvis always worked with 
consummate professional musicans who could follow 
his twists and turns, and they turn on a dime from 4/4 
at 116 beats per minute to 6/8 at 148 beats per 
minute.  It's not even a related change; it's just a feel 
thing, so go on and feel it.  Set your metronome to 148 
and count "one-two-three-four-five-six," once again 
strumming on each downbeat.  This time, though, 
accent the first and fourth beats.  This pattern is 
shown in Fig. 2.  The only way to practice this 
transition from Chorus to Bridge is to turn the 
metronome off and feel it.  If you've played each part 
separately often enough, it will be like changing gears 
on a 10-speed bike.  

THAT CATCHY GUITAR FIGURE

  For those who wish to conquer it, the opening guitar 
figure is shown in Fig. 3.  It's a tricky bit of picking that 
employs hybrid picking (pick plus fingers) and 
hammered-on notes to outline the G-C/G changes of 
the verse.  When it changes to C and F/C, your best 
bet is to play the same shape at the fifth fret using a 
barre with your first finger and your fourth finger for the 
bass ntoe (at the eighth fret).  Move the same shape 
up two frets for the D and G/D.  Or, hire a 
consummate professional to play that part and focus 
on strumming it.
THANK YUH VERUH MUCH.  "