Well, I'm afraid I may crush some people's hopes by casting my vote for BA - but if anyone saw the reservations about WAW I posted in another thread earlier, I guess I'm at least being consistent
I do agree that WAW is very well written, and (together with some of the other standout songs) marks a strong advance in Carrie's thematic maturity and lyrical depth. I'd certainly place this song in the best seven on the album - but not up with my top four (GG, TBC, FC, LLA). On a wider comparison, I'd rank this one behind both SWISLY and OW (with which it has some stylistic similarities).
On a very varied album, I think it's a good move to include a song with echoes of the Nashville Neo-traditionalists - but I also feel there are realistic limits to what this can achieve. While it may please some critics, I have doubts if it will go far to convince most Neo-traditionalist fans to accept Carrie's style. In the end, although this has Neo--traditionalist echoes, I think the delivery and general style may still sound too contemporary for that audience (which I suspect is a lost cause)
Although Carrie sings beautifully, and is very versatile as to style. I have reservations about how far this particular style leaves many opportunities for vocal variation and innovation. For me, Carrie's standout vocal touches come at the end, where around 3.20 she introduces a trill in her voice, and follows it with a last, quiet, resigned "after Whiskey". I think many of the chorus passages, though, tempt her to introduce variation by approaching contemporary "power vocals." I don't feel the song fully benefits from that - what I would expect from the lyrics is a more gritty, world-weary delivery.
BA is actually not my favourite cut on this album either, but I think it gives Carrie more opportunity to match interesting and innovative vocal changes to the mood of the lyric. So, while they're both strong songs which are destined to be fan favourites, BA does come across to me as the more memorable.