Linguistic ability goes to Blood On The Tracks, actually. Creativity, too. Like DSotM with "Time", one defining performance ain't gonna carry a whole album. Blood On The Tracks has massive versatility, at the very least equals BiABH in wit (see: "Idiot Wind"), and keeps every other subcriterion of linguistic showcase close. "It's Alright Ma", while there are no words to describe it, can't compare to the fact that EVERY SINGLE song on BoTT is a lyrical masterwork. BiABH doesn't cover as much ground as Blood On The Tracks did, with epic storytelling (Lily, Rosemary, and the Jack of Hearts), multi-perspective narration (Tangled Up In Blue), pseudo-Biblical love songs (Shelter From The Storm), and a closer that spoke volumes with its simplicity (Buckets Of Rain).
Here's a more accurate breakdown:
Cultural Impact: BiABH
I'd think BoTT's leads in Creativity and Linguistic Showcase makes up for the deficits in Influence and Cultural Impact, so BoTT>BiABH
I much prefer BoTT to BiBH as an album, but for this list in my mind BiABH takes this quite easily.
I'm not sure how you got BoTT to have more variety and versatility than BiABH, seeing as how BoTT is largely based around one subject (the break-up of him and his wife) whereas BiBH has a variety of subjects and ideas relating to his relationship with his fans at that point, drug-taking, society as a whole, as well as love songs and break-up songs.
BiABH certainly isn't all about one song, "Subterranean Homesick Blues" was a deliberate attack on his fans turning against him for abandoning folk and political songs and has some of him most famous and quoted lines it: "you don't need a weatherman to know which way the wind blows" "20 years of schooling and they put you on the day-shift" etc.
"Mr. Tambourine Man" was also one of the first psychedelic songs to sing about drug-use and drug-taking, before Hendrix or Sgt. Peppers' or the Doors or any of that.
"Gates of Eden" is right up there as one of the most poetic and layered songs Dylan has ever written and is a lengthy religious parable, both praising religion for some of its fundamental humanitarian beliefs while criticising its hypocrisy at the same time.
"Bob Dylan's 115th Dream" was one of his finest example of his surreal imagery and storytelling, which is argubly his most influential trait as a lyricist.
"It's All Over Now (Baby Blue)" as a break-up song is at least comparable to the types of songs on BoTT.
With the exception of multi-perspective narration BiABH has all of those things you mentioned and more! Epic storytelling (Bob Dylan's 115th dream), pseudo-Biblical songs (Gates of Eden), love songs (She Belongs to Me, Love Minus Zero/No Limit).
And to add to that it also has the angriest and most cutting political song he ever wrote (It's Alright Ma), drug-fueled psychedelia (Mr Tambourine Man) and the surreal and nonsensical song deliberately designed as a "fuck you" to the fans who turned against him (Subterranean Homesick Blues).
It also beats BoTT in influence and Cultural impact by a long, long way, so even if BoTT slightly took creativity or linguistic showcase (which I really don't believe it does), then BiABH's wins in the other 2 catagories would be too great for them to make anything up on it.